Source: Part 1: Works by Margaret Atwood. Horne, Alan J. (compiler); Toronto, Ontario : ECW Press, 1979, pp. 14-21

Margaret Atwood An Annotated Bibliography (Prose); Introduction  

Horne, Alan J. (compiler)

In From There to Here Frank Davey wrote that "Margaret Atwood has enjoyed a spectacular climb to the summit of Canadian letters", and in The Canadian Novel in the Twentieth Century George Woodcock observed that a consideration both of Atwood's prose writings and of her poetry shows "the versatility with which her intelligence plays over the horizons of her perceptions. . . .No other writer in Canada of Margaret Atwood's generation has so wide a command of the resources of literature, so telling a restraint in their use."

In many ways, Margaret Atwood is regarded popularly as well as academically as one of the brighter stars of the Canadian literary scene. She is one of those writers who has greatly improved the stature of Canadian literature at home and abroad. She is heard on the radio, seen on television, read about in Chatelaine and Toronto Life. Her books are known and read by the Canadian reading public. Her name and her writings are recognized in the United States and Britain. Her books are taught at school. However, like most living writers still in the flood of production, Atwood must suffer changes in the critical esteem in which she is held. Some people feel that Atwood has done too many different things too well. She writes poetry and fiction, criticism and drama; she writes for adults and she has now ventured into writing for children; she even illustrates her own books.

The essential feature of Atwood's fiction and poetry has been described as a search for a personal and national identity. Survival is a central theme throughout her works, as is the quest for self unity. Thus The Edible Woman has been described as a farce about the pursuit of normalcy, and as "the intelligent woman's guide to survival in the contemporary world." Of all Atwood's prose works, this first novel has been most generally praised. In the first critical article dealing with Atwood's prose -- which, strangely enough, appeared In The Literary Half-Yearly, an academic journal published in India -- George Woodcock described The Edible Woman as a "social novel of high perceptiveness" and went so far as to claim that Atwood does for her generation what Jane Austen did for hers. The heroine of The Edible Woman is generally seen as an instructive victim and as a sympathetic character but there is some uncertainty among critics about the author's skills at character portrayal.

These doubts are repeated in criticisms of Surfacing, Atwood's second novel. However, there is no doubt that many writers see this book as a major, if not totally successful achievement. The extremes in viewpoint appear most obviously in two reviews which were published in 1974. D M Fraser described the book as "a work of consistent and self-congratulatory feeblemindedness" and as a "sort of pretentious mediocrity" while George Gait in The Canadian Forum claimed that it was "likely the best piece of fiction produced by Atwood's generation in North America or anywhere." Certainly, Surfacing is not an easy book to interpret, though as Roberta Rubenstein comments, it is primarily about a journey of self-discovery in which the divided self becomes whole. Other interpretations describe the theme of Surfacing as sexual politics, where the language is seen as a means of imposing psychological power structures, or as mortality, the victimization of all mankind and not just of women. It has been described as a ghost story, as "a contemporary novel by a woman with feminist concerns which confronts the problems of myth and language," as a feminist theological tract, and as "a sort of psychological thriller, where the protagonist searches for or comes in conflict with that fragmented self which appears as a ghost." Atwood herself in 1976 replied to some of these interpretations: in her view Surfacing is neither a feminist/ecological treatise as reviewed in the United States nor a nationalist one as seen in Canada, but a novel.

Lady Oracle, the third novel, and Dancing Girls, a collection of short stories, were published closely together. Lady Oracle, described as a "satire of the first order," received generally favourable reviews, either as "a wonderfully unpretentious comic romp" and "a good read" or as a "graceful, humorous exploration of cultural obsessions" and a "psychologically penetrating and thought-provoking work of fiction " A sour note was struck however when The Globe and Mail saw fit to review the book a second time and Brigid Brophy's main intent seems to have been to counteract the earlier favourable review. Dancing Girls has also been generally well received.

The controversy about Survival, Atwood's thematic guide to Canadian literature, is well known and needs little documentation. Robin Mathews' article in This Magazine Is about Schools is the most influential review to take a strongly critical view of Atwood's thesis. He claims that Atwood selected writers and books to suit her thesis, rather than prepare a thesis from the evidence of all the literature. In Open Letter, Frank Davey similarly claims that Atwood's generalizations are invalid because she has not achieved a balanced overview. Davey later claimed that Survival had been useful in provoking much interest in Canadian writing, but he later again complained that Atwood appeared ignorant of movements in contemporary Canadian writing, and that her criticism is an attempt "to define a national identity or psychosis." Despite these criticisms, diatribes from the political Left, and some hostility from academics, Survival remains a basic handbook to Canadian literature.

This bibliography began as an unannotated checklist, thus, some of the problems encountered had to do with the transformation from one format to another. The decision to combine articles with book reviews was made because, to a large extent, they are indistinguishable in form. Since much of Atwood's public persona is a function of the number of reviews her books receive, it was necessary to include a wide range of reviews. Finally, there was the difficulty of keeping abreast with the Atwood industry, especially in terms of recent criticism. Atwood receives serious critical attention all over the English-speaking world, and some articles published in the last year may have evaded my attention.

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Source: Part 1: Works by Margaret Lawrence. Warwick, Susan J. (compiler); Toronto, Ontario : ECW Press, 1979, pp. 48-56

Margaret Laurence An Annotated Bibliography; Introduction  

Warwick, Susan J. (compiler)

Introduction

Writing of Margaret Laurence for the Literary History of Canada, William H. New stated that "the range and quality of her work made her the most recognized and accomplished of the writers of the 1960s." The publication in the 1970s of Jason's Quest, Heart of a Stranger, and The Diviners, the final novel in the Manawaka cycle, served to enhance Laurence's reputation as one of the pre-eminent figures in the Canadian literary community and beyond. As Michael Peterson suggested in his introduction to the special Journal of Canadian Studies Laurence issue, "for many Canadians she has become an eminence, a wise and generous voice providing insight into, and guidance for, a highly self-conscious nation and the process of reviewing its complicated history and complex character." That Laurence does not take such responses to her work lightly is evident in one of her most recent essays, "Ivory Towers or Grassroots?: The Novelist as Socio-Political Being." This belief has been reflected in all of Laurence's work, from the early African writings to the essays in Heart of a Stranger.

The years that Laurence spent in Africa were critical in her development as an artist and an understanding of her African work provides a valuable basis for the evaluation of her other writings. As George Woodcock has written, "Africa provided the insights which unlocked her ability to perceive and to write about her own heritage, her own country, and there emerged that splendid series of time-obsessed myths of the Canadian prairie town from The Stone Angel down to The Diviners."

The core of Laurence's artistic vision has been described by Clara Thomas as "the search for home, the journey of a stranger in a strange land, the seeking of the outsider for his true place in the tribe of man." This search for home, for a sense of community, has involved Laurence, in her writing, with what Dick Harrison sees as a concern with the "renaming of the past." In all of her work, Laurence expresses the belief that the unearthing of the past and the re-creation of it in the present is the basis for self-acceptance and the affirmation of life. This affects not only her themes, but her fictional forms as well. Throughout, the process of "remembering," of gathering together the pieces of the past, simultaneously provides both structure and meaning. In the Manawaka works in particular, Laurence presents individuals who are deeply involved in the recollection and re-creation of the past.

The Stone Angel, the first of Laurence's Manawaka works, has received more critical attention than any of her other writings to date. Critics have been divided as to the success of the novel's technique, but nearly all have praised Laurence's creation of the novel's central character, Hagar Shipley. Of those who have found fault with the novel's structure, many have agreed with Leona Gore's assessment that the misuse of the associative memory process "is the most serious artistic flaw in the work." Nonetheless, others have maintained, along with William H. New, that the interweaving of past and present "contributes to the irony of the characterization," and of the book as a whole.

With the publication of A Jest of God in 1966, critical attention was once again focused on Laurence's use of the first person narrative voice, her evocation of the small prairie town of Manawaka, and her handling of character. The debate regarding the success or failure of the novel's narrative voice is summarized in two reviews which appeared in Canadian Literature. Robert Harlow asserted that the novel lacked "objectivity, distance, and irony," primarily as the result of the narrative voice used, while H. J. Rosengarten claimed that while "the drama of Rachel's struggle and failure is played out entirely within her consciousness, the narrowness of the point of view does not limit the novel's meaning" for Rachel is both ironist and victim.

The issue of technique in The Stone Angel and A Jest of God is an important one, but other aspects of the novels have sparked considerable discussion as well. George Bowering has called attention to Laurence's use of language in A Jest of God, arguing that Laurence does not give us the product of Rachel's mind, but rather "shows us the motion of the machinery," and that the reality of character lies in the manner of speech more than in the matter spoken. David L. Jeffrey has suggested that the application of biblical hermeneutical models to the structure of The Stone Angel provides a guide to the novel's interpretation, while Dennis Cooley has considered the novel's opposition between nature and art as a basis for understanding Hagar's dilemma and development.

The Fire-Dweller, published in 1969, revealed Laurence again in the process of experimentation with form and voice. Though Laurence returned to a first person narrative in this novel, the heroine's voice here is considerably different than that of her predecessors and the work's structure reveals a movement away from the chronological patterning of The Stone Angel. Edward Weeks, in commending the novel's use of the continuous present, and the revelation of Stacey's mind "in a swift-flowing stream of dialogue, reaction, reproach, and nostalgia," pointed to a number of its innovations with respect to Laurence's technique. Stacey has been described by many as a symbolic Everywoman, and Peter Sykes referred to her as "one of the first contemporary women in Canadian fiction."

A Bird in the House and Jason's Quest appeared in 1970, and while most of the stones in the former had been published previously in periodicals, their collection added to Laurence's reputation as a writer of malor talent. Henry Kreisel, in his comparison of the stories in The Tomorrow-Tamer and A Bird in the House, remarked that while Laurence "is not very adventurous in exploring the possibilities of the short story form," her work in the genre is "among the most distinguished now produced in Canada." Similarly, George Woodcock stated that The Tomorrow-Tamer and A Bird in the House established "Laurence as one of the three best short story writers at work in Canada today."

The final novel in the Manawaka series, The Diviners, was eagerly anticipated by Laurence's now large audience, and while a few were disappointed, most agreed with R. J. MacSween that it possessed many of the qualities of a masterpiece. The maturation of Laurence's art in narrative and stylistic terms is clear. In the movement from the rigid and conventional form of This Side Jordan to the experimental quality of The Diviners, one witnesses the process of an artist learning and refining her craft. Those aspects of Laurence's style which attracted much critical attention on the publication of The Stone Angel -- the employment of the first-person narrative voice, the technique of retrospection, and the creation of a "mythic" framework -- have been re-worked, revitalized, and refined.

Clara Thomas has written that The Diviners is "the story of a profoundly religious pilgrimage, the affirmation of faith and the finding of grace," and as such is "the culmination of the Manawaka works" for its "final statement encircles, encloses and completes them all." It is this final statement containing Morag's recognition and acceptance of her own inheritance and that which she will leave for others that reiterates Laurence's thematic concern, the search for home and a sense of continuity in time. Those reviewers expressing dissatisfaction with the novel focussed on its style and structure, and Laurence's treatment of Morag as artist. Several perceptive analyses of the novel's formal aspects have challenged these assessments, notably Ildiko de Papp Carrington's and Cheryl Cooper's. As Carrington writes, "the achievement of this novel lies in its technique, not in its theme. The emphasis is on tales in the telling, this gerund denotes not a completed structure but a continuing action."

During the initial stages of the compilation of the bibliography, two problems with respect to the location of certain items became apparent. The first involved the difficulty of ascertaining whether M.A. theses listed in various indices had in fact been completed, and the availability of these theses. The second problem concerned the lack of information available on reviews Laurence had written of other writers' works. During the years Laurence lived in England, she wrote a considerable number of reviews, but the majority of these were published anonymously and therefore are difficult to trace. As a result, the review section of the bibliography lists only a selection of reviews written for Canadian journals and newspapers after 1960.

In regard to the material treating Laurence's work, there was at times a problem in determining whether a particular item should be considered a critical article of a review. The placement of each item in these sections was based finally on an assessment of the scope and detail of the discussion. In the selection of the reviews an attempt was made to include a variety of responses, but the selection process was at times difficult. The final judgement on which reviews to include was based on the criteria of the critical significance of the item and its availability to the majority of readers. One further problem that arose in this regard concerned the question of whether articles which only briefly mentioned Laurence or one of her books should be included in the criticism section of the bibliography. The decision was made to include only those works which contained an analysis of her work, and not those which simply made reference to it for purposes of contrast, comparison, or summary.

The location of translations of Laurence's work was difficult and occasionally impossible as the various sources for this information were inconsistent or incomplete.

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Source: Part 1: Works by Margaret Atwood. Horne, Alan J. (compiler); Toronto, Ontario : ECW Press, 1979, pp. 14-21

Part 1 Works by Margaret Atwood; Books and manuscripts; Children's book  

Horne, Alan J. (compiler)

A6        Up in the Tree. Toronto: McClelland and Stewart,1978. N. pag.

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Source: Part 1: Works by Margaret Atwood. Horne, Alan J. (compiler); Toronto, Ontario : ECW Press, 1979, pp. 14-21

Part 1 Works by Margaret Atwood; Books and manuscripts; Criticism  

Horne, Alan J. (compiler)

A5        Survival: A Thematic Guide to Canadian Literature. Toronto: House of Anansi, 1972. 287 pp.

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Source: Part 1: Works by Margaret Atwood. Horne, Alan J. (compiler); Toronto, Ontario : ECW Press, 1979, pp. 14-21

Part 1 Works by Margaret Atwood; Books and manuscripts; Drama  

Horne, Alan J. (compiler)

A7        "Grace Marks." Unpublished TS, 1974. 85 pp. Produced on CBC television in January 1974 as The Servant Girl.

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Source: Part 1: Works by Margaret Atwood. Horne, Alan J. (compiler); Toronto, Ontario : ECW Press, 1979, pp. 14-21

Part 1 Works by Margaret Atwood; Books and manuscripts; Fiction  

Horne, Alan J. (compiler)

[underbar]

A1        The Edible Woman. Boston: Little, Brown, [1969]. 281 pp.

          An Atlantic Monthly Press Book.

          London: Andre Deutsch, 1969 281 pp.

          Toronto: McClelland and Stewart, 1969 281 pp.

          Introd. Alan Dawe. New Canadian Library, No. 93

          Toronto: McClelland and Stewart, 1973 281 pp.

          La Donna da Mangiare. Trans. Mario Manzari. Milan: Longanesi, 1976 295 pp.

          New York: Popular Library, 1976 287 pp.

          The Edible Woman. Toronto: Seal Books, 1978. 294 pp. Includes fifteen pages from Lady Oracle.

A2        Surfacing. Toronto: McClelland and Stewart, 1972. 192 pp.

          Don Mills, Ont.: Paperjacks, 1973 192 pp.

          London: Andre Deutsch, 1973 192 pp.

          London: Wildwood House, 1973 192 pp.

          New York: Simon & Schuster, 1973 224 pp.

          New York: Popular Library, 1974 224 pp.

          Vancouver: Taped Books Project, 1974. Audiotape, seven hours duration.

          Faire Surface. Trans. Marie-France Girod. Montreal: Editions L'Etincelle, 1978. 231 pp.

A3        Lady Oracle. Toronto: McClelland and Stewart, 1976. 345 pp.

          New York: Simon and Schuster, 1976. 345 pp.

          London: Andre Deutsch, 1977. 345 pp.

          Toronto: Seal Books, 1977. 345 pp.

          New York: Avon Books, 1978 380 pp.

A4        Dancing Girls. Toronto: McClelland and Stewart, 1977. 256 pp.

          Toronto: Seal Books, 1978. 245 pp.

          Includes "The War in the Bathroom" (B6); "The Man from Mars" (B21); "Polarities" (B9); "Under Glass" (B11); "The Grave of the Famous Poet" (B10); "Rape Fantasies" (B13); "Hair Jewellery" (B18); "When It Happens" (B15); "A Travel Piece" (B14); "The Resplendent Quetzal" (B19); "Training"; "Lives of the Poets" (B20); "Dancing Girls" (B23); "Giving Birth" (B23).

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Source: Part 1: Works by Margaret Atwood. Horne, Alan J. (compiler); Toronto, Ontario : ECW Press, 1979, pp. 14-21

Part 1 Works by Margaret Atwood; Books and manuscripts; Manuscripts  

Horne, Alan J. (compiler)

A8        Thomas Fisher Rare Book Library

          University of Toronto

          Toronto, Ontario.

          This is the major depository of Margaret Atwood's manuscripts. The material is housed in boxes and an outline of their contents follows.

 Box 1      Correspondence, miscellaneous items including 
           biographical notes, an essay entitled "My
           Poetic Principles," dated October 29, 1962;
           announcements of poetry readings; typescript
           of "Trumpets of Summer," with working
           copy, printed libretto, and correspondence
           with John Beckwith. Also some unpublished
           poems.
 Box 2      Prose -- short stories and The Edible
           Woman.
 Box 3      Prose -- The Edible Woman (continued).
 Box 4      Poetry, including The Animals in That
           Country," an unpublished play in verse, "Thus
           Parts the Hero."
 Box 5      Poetry -- early manuscripts circa 1958-63
 Box 6      Poetry -- early manuscripts (continued); and
           material written in Vancouver in 1964-65.
 Boxes
  7-9      Poetry -- later work.
 Box 10     Page proofs of The Edible Woman.
 Box 11     Negative microfilm and paper copy of Charles 
           Pachter's thesis for the degree of Master of
           Fine Arts, Cranbrook Academy of Art, Bloom-
           field Hills, Michigan.
 Boxes
 12-15      Vocal  score of "Trumpets of Summer";
           manuscript and typescript of "Oratorio for 
           Sasquatch, Man and Two Androids"; various 
           drafts of Surfacing, an unpublished novel,
           "Up in the Air So Blue", The Journals of 
           Susanna Moodie; Procedures for Underground;
           Power Politics; and manuscript of 
           "Rhyming Cats" (written circa 1948-50).

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Source: Part 1: Works by Margaret Atwood. Horne, Alan J. (compiler); Toronto, Ontario : ECW Press, 1979, pp. 14-21

Part 1 Works by Margaret Atwood; Contributions to periodicals, books, and anthologies; Articles and book reviews  

Horne, Alan J. (compiler)

B26       "Diminutive Dramatics." Clan Call [Leaside High School], 1, No 6 (1954-55), 24-25.

B27       "Portrait of a Pet." Clan Call, 2, No 1 (1956-57), 34.

B28       "Apocalyptic Squawk from a Splendid Awk." Rev. of The Cruising Auk, by George Johnston. Acta Victorina, 84, No. 1 (Dec. 1959), 25-26.

B29       "The Face Behind the Eyes." Rev. of Eyes Without a Face, by Kenneth McRobbie. Acta Victoriana, 86 [sic][85], No. 1 (Nov. 1960), 22.

B30       "Some Sun for This Winter." Rev. of Winter Sun, by Margaret Avison. Acta Victoriana, 87 [sic] [85], (Jan 1961), 18-19.

B31       "Narcissus: Double Entendre." Rev of Alphabet, No. 1, and Mad Shadows, by Marie-Claire Blais. Acta Victoriana, 83 [sic] [85] (Feb. 1961), 14-16. Includes a line drawing by Atwood.

B32       "Art in Alumni." Acta Victoriana, 86 [sic] [85], No. 4 (March 1961), 8-10. An article "collected and edited by Margaret Eleanor Atwood and Ian Cameron."

B33       "Kangaroo and Beaver." Rev. of Tradition in Exile, by J. P. Mathews. Alphabet, No. 5 (Dec 1962), pp. 78-79.

B34       Rev. of Alexander Blok: Between Image and Ideas, by F.D. Reeve. Alphabet, No. 6 (June 1963), pp 70-71.

B35       "Superwoman Drawn and Quartered: the Early Forms of She." Alphabet, No 10 (July 1965), pp. 65-82. An article on the works of Rider Haggard.

B36       "Four Poets from Canada." Rev. of Phrases from Orpheus, by D. G. Jones; The Absolute Smile, by George Jonas; An Idiot Joy, by Eli Mandel; and North of Summer and Wild Grape Wine, by Al Purdy. Poetry, 114, No. 3 (June 1969), 202-07.

B37       "Some Old, Some New, Some Boring, Some Blew, and Some Picture Books." Alphabet, No. 17 (Dec 1969), pp. 61-64. A review of some Canadian little magazines.

B38       "MacEwen's Muse." Canadian Literature, No. 45 (Summer 1970), pp. 24-32. Rpt. (trans.) in Ellipse, No 7 (Spring 1971), pp 83-93. Rpt in Poets and Critics: Essays from Canadian Literature 1966-1974. Ed. George Woodcock. Toronto: Oxford Univ Press, 1974, pp. 215-24.

B39       Rev. of On the Street, by Pat Lane. Blewointmentpress, Occupation Issue (Aug 1970), p 109.

B40       "The Messianic Stance." Rev of West Coast Seen, ed. Jim Brown and David Phillips. Canadian Literature, No. 47 (Winter 1971), pp 75-77.

B41       "Nationalism, Limbo and the Canadian Club." Saturday Night, Jan. 1971, pp. 10-11.

B42       "Poetic Process?" Field, No. 4 (Spring 1971), pp. 13-14.

B43       "Eleven Years of Alphabet " Canadian Literature, No 49 (Summer 1971), pp. 60-64.

B44       "Love Is Ambiguous...Sex Is a Bully." Rev. article on Love in a Burning Building, by A. W. Purdy. Canadian Literature, No. 49 (Summer 1971), pp. 71-75.

B45       "Sang des Betes." Rev. of The Broken Ark, a Book of Beasts, ed. Michael Ondaatje. Books in Canada, No 4 Nov 1971, pp 12-13.

B46       "The Books I Enjoyed Most in 1971. . . ." Financial Post, 11 Dec 1971, pp. 33-34.

B47       "Introduction." In Incisions. By Robert Flanagan.Toronto: House of Anansi, 1972, pp. ii-v.

B48       Rev. of Great Canadian Short Stories, ed Alec Lucas. World Literature Written in English, 11, No 1 (April 1972), 63-64.

B49       "First People; an Extract from Survival." Northern Journey, No. 2 (1972-73), pp. 18-30. SURV (excerpt).

B50       "Getting Out from Under." In Empire Club of Canada: Addresses 1972-73. Toronto: Empire Club Foundation, 1973, pp.353-67. Address given to the Empire Club on April 5, 1973, in which Atwood describes her present situation as a "thing" rather than a celebrity and gives her views on nationalism.

B51       "Introduction." In The Sun and the Moon and Other Fiction. By P.K. Page. Toronto House of Anansi, 1973, pp. iii-v.

B52       "Travels Back: Refusing to Acknowledge Where You Come From Is an Act of Amputation." Maclean's, Jan.1973, pp 28, 31, 48.

B53       "How Do I Get Out of Here: The Poetry of John Newlove." Open Letter, 2nd Ser, No. 4 (Spring 1973), 59-70.

B54       "Notes on Power Politics." Acta Victoriana, 97, No 2(April 1973), 6-19. First broadcast on the CBC programme Ideas.

B55       "Surviving the Critics: Mathews and Misrepresentation." This Magazine, 7, No. 1 (May-June 1973), 29-33. A reply to Robin Mathews' review of Survival in the Winter 1972-73 issue of This Magazine Is about Schools (see C5).

B56       "Reaney Collected." Canadian Literature, No. 57(Summer 1973), pp. 113-17. Rpt in Poets and Critics: Essays from Canadian Literature 1966-1974 Ed. George Woodcock. Toronto: Oxford Univ. Press, 1974, pp. 151-58.

B57       "What Nationalism Is All About " Financial Post, 11 Aug 1973, p. 6.

B58       "Poetry in the Buffer Zone." Times Literary Supplement, 26 Oct. 1973, pp 1305-06. An article on Canadian poetry.

B59       Letter. Harvard Advocate, 106, Nos. 2/3 (Winter 1973), 17. A letter about "feminine sensibility."

B60       "Diving into the Wreck." Rev of Poems 1971-1972, by Adrienne Rich. New York Times Book Review, 30 Dec 1973, pp 1-2.

B61       "Face to Face: Margaret Laurence As Seen by Margaret Atwood." Maclean's, May 1974, pp 38-39, 43-46.

B62       Rev. of In the Springtime of the Year, by Susan Hill, and The Half-Sisters, by Cynthia Propper Seton. New York Times Book Review, 5 May 1974, p. 7.

B63       "Into the Bell Jar World of Unreality" Rev. of Mundome, by A. G. Mojtabai. New York Times Book Review, 12 May 1974, p. 6.

B64       "Masterful. A Game of Musical Beds in a House of Mirrors." Rev. of The Sacred and Profane Love Machine, by Iris Murdoch. The Globe and Mail, 1 June 1974, p 23.

B65       Rev of Half-Lives, by Erica Jong. Parnassus: Poetry in Review, 2, No. 2 (Spring-Summer 1974), 98-104.

B66       "Picking up the Pieces of the Battered Kate Millet -- After the Trashing." Rev. of Flying, by Kate Millet. The Globe and Mail, 27 July 1974, p 30.

B67       "What's So Funny? Notes on Canadian Humour." This Magazine, 8, No. 3 (Aug.-Sept. 1974), 24-27.

B68       "Un Petit Rat Heureux." Le Maclean, Sept 1974, pp. 19-21, 43. An interview with Mane-Claire Blais.

B69       Rev. of St. Lawrence Blues, by Marie-Claire Blais. New York Times Book Review, 29 Sept 1974, pp. 4-5.

B70       "Don't Expect the Bear to Dance." Maclean's, June 1975, pp 68-71. About the new Toronto Zoo.

B71       "Marie-Claire Blais Is Not for Burning." Maclean's, Sept. 1975, pp. 26-29

B72       "It's Seminal. A Landmark. The Struggle of Woman on Almost Every Possible Level." Rev. of Poems, Selected and New, by Adrienne Rich. The Globe and Mail, 6 Dec. 1975, p 35.

B73       "Introduction." In St. Lawrence Blues, by Marie-Claire Blais. Toronto: Bantam Books, 1976, pp vii-xvi.

B74       "Paradoxes and Dilemmas: the Woman As Writer." In Women in the Canadian Mosaic. Ed. Gwen Matheson. Toronto: Peter Martin Associates, 1976, pp 256-73. Gives some details of discrimination in reviewing and in interviews, and examples of rivalry of male writers.

B75       "A Reply." Signs: Journal of Women in Culture and Society, 2, No. 2 (1976), 340-41. A comment on articles in the same issue of Signs by Christ (see C27) and Plaskow (see C29). Atwood's view is that Surfacing is neither a feminist/ecological treatise as reviewed in the U.S.A. nor a nationalist one as reviewed in Canada, but a novel.

B76       "Of Woman Born." Rev. of Motherhood As Experience and situation, by Adrienne Rich. The Globe and Mail, 11 Nov. 1976, p 41.

B77       "Canadian Monsters. Some Aspects of the Supernatural in Canadian Fiction." In The Canadian Imagination: Dimensions of a Literary Culture Ed. David Staines. Cambridge, Mass: Harvard Univ. Press, 1977, pp 97-122.

B78       Letter. Saturday Night, Jan-Feb 1977, p 3. Claims that the Royal Porcupine in Lady Oracle is a character in a novel and does not represent any real person.

B79       "Why Annie Got Her Gun." Rev. of A Harvest Yet To Reap: A History of Prairie Women, ed. Linda Rasmussen et al. Books in Canada, Feb. 1977, pp 9-10.

B80       Rev. of Ten Green Bottles and Ladies and Escorts, by Audrey Thomas. The Globe and Mail, 16 April 1977, p. 25.

B81       "Uncle Denis' Hat-Trick." The Canadian, 10 Sept. 1977, pp 16-19. Pages from Dennis Lee's book for children, Garbage Delight, introduced by Atwood.

B82       "Courage and Passion." Rev. of Report on the Death of Rosenkavaher, by Jan Drabek. Essays on Canadian Writing, Nos. 7/8 (Fall 1977), pp. 97-100.

B83       "Monument for a Dead Self." Rev of A Self-Portrait, by Anne Sexton. New York Times Book Review, 6 Nov 1977, p 15.

B84       "An Important Book, for Many Reasons " Rev. of The Wars, by Timothy Findley. Financial Post, 12 Nov 1977, p 6. Rpt. in Book and Periodical Development Council Newsletter, No. 2 (Dec 1977), pp. 4-6.

B85       "The Curse of Eve -- Or, What I Learned in School." In Women on Women. Ed and introd. Ann B Shteir. Toronto: York University, 1978, pp 13-26.

B86       "Atwood among the Ozzies." Saturday Night, June 1978, 45-47, 49-50. An article about a visit to Australia for Writers' Week.

B87       "Unfinished Women." Rev. of The Dream of Common Language: Poems 1974-1977, by Adrienne Rich. New York Times Book Review, 11 June 1978, pp 7, 42-43.

B88       "Obstacle Course." Rev of Silences, by Tillie Olsen. New York Times Book Review, 30 July 1978, pp 1, 27.

B89       "Timeless in Afghanistan: Observations on Antiquity under Moonlight in Kabul." Toronto Life Travel Guide, Aug. 1978, pp. 12-15, 28-31.

B90       "Production Problems." Canadian Literature, No 78(Autumn 1978),pp 13-15. Deals with the writing and production of Up in the Tree.

B91       Rev. of Johnny Panic and the Bible of Dreams, by Sylvia Plath. New York Times Book Review, 28 Jan. 1979, pp 10, 31.

B92       "Surfacing on the QE2." Toronto Life Travel Guide, Feb 1979, pp.10, 24-28, 33.

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Source: Part 1: Works by Margaret Atwood. Horne, Alan J. (compiler); Toronto, Ontario : ECW Press, 1979, pp. 14-21

Part 1 Works by Margaret Atwood; Contributions to periodicals, books, and anthologies; Published graphic work  

Horne, Alan J. (compiler)

B93       Programme cover design for The Pirates of Penzance. Produced by Victoria College Music Club, February 1959.

B94       Programme cover design for The Big F. Produced by Victoria College Bob Review, November 1959.

B95       Programme cover design and sketches for The Mikado. Produced by Victoria College Music Club, February 1960.

B96       Programme cover design and posters for Epicoene; or, The Silent Woman. Produced by Victoria College Dramatic Society, December 1960.

B97       Programme cover design, sketches, and posters for The Yeomen of the Guard. Produced by Victoria College Music Club, January-February 1961.

B98       Cartoons in The Strand, 10 March 1961.

B99       Collages for The Journals of Susanna Moodie. Toronto: Oxford Univ Press, 1970.

B100      "Kanadian Kultchur Komics." By "B G." or "Bart Gerrard," a pseudonym used by Margaret Atwood. A comic strip which appeared in every issue of This Magazine from Volume 8, No 5-6 (Jan-Feb. 1975) to Volume 12, No. 2 (1978).

B101      "Portrait of the Artist As a Young Cipher" Graduate, 5, No. 1 (Sesquifall Issue 1977), 8-9. A comic strip written and drawn by Atwood.

B102      Up in the Tree. Toronto: McClelland and Stewart, 1978 N pag. Written and drawn by Atwood.

B103      "Hairdo." Weekend Magazine, 4 Feb. 1978, pp 6-7. A comic strip written and drawn by Atwood.

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Source: Part 1: Works by Margaret Atwood. Horne, Alan J. (compiler); Toronto, Ontario : ECW Press, 1979, pp. 14-21

Part 1 Works by Margaret Atwood; Contributions to periodicals, books, and anthologies; Selected anthology contributions  

Horne, Alan J. (compiler)

B104      "Encounters with the Element Man." In The Story So Far/2. Ed.Matt Cohen. Toronto: Coach House, 1973, pp. 9-16.

B105      "The Grave of the Famous Poet" In Modern Canadian Stories. Ed. John Stevens. New York: Bantam, 1975, pp. 62-74.

B106      "Rape Fantasies." In Toronto Short Stories. Ed Morris Wolfe and Douglas Daymond. Toronto: Doubleday, 1977, pp 1-11.

B107      "Survival." In Playback: Canadian Selections. Ed. Jack David and Michael Park. Toronto: McClelland and Stewart, 1978, pp. 165-69. SURV (excerpt).

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Source: Part 1: Works by Margaret Atwood. Horne, Alan J. (compiler); Toronto, Ontario : ECW Press, 1979, pp. 14-21

Part 1 Works by Margaret Atwood; Contributions to periodicals, books, and anthologies; Short stories  

Horne, Alan J. (compiler)

Note: When an item is reprinted in one of Atwood's books, this fact is noted in the entry through the following abbreviations:

 The Edible Woman ........................EW
 Surfacing ............................. SURF
 Lady Oracle ..............................LO
 Dancing Girls ............................DG
 Survival ...............................SURV
 

B1        "The Glass Slippers" Acta Victoriana, 82, No. 3(March 1958), 16-18.

B2        "The Pilgrimage." Acta Victoriana, 83, No. 2 (Dec. 1958), 34-36.

B3        "A Cliche for January." Acta Victoriana, 83, No. 4 (Feb 1959), 7-9.

B4        "The Child Is Now." The Sheet, 1, No. 1 (Jan 1960), 10-12.

B5        "Insula Insularum." Acta Victoriana, 83 (sic) [85], No. 3 (Feb 1961), 6-11.

B6        "War In the Bathroom." Alphabet, No. 8 (1964), pp. 63-72 DG.

B7        "Going To Bed." Evidence, No. 9 (1965), pp. 5-10.

B8        "Testament Found in a Bureau Drawer." Prism International, 5, No. 2 (Autumn 1965), 58-65.

B9        "Polarities." The Tamarack Review, No. 58 (1971), pp. 3-25. DG.

B10       "The Grave of the Famous Poet." 72: New Canadian Stories. Ed David Helwig and Joan Harcourt. Ottawa: Oberon, 1972, pp. 122-33. DG.

Bll       "Under Glass." Harper's, Feb. 1972, pp 78-82. DG.

B12       "Encounters with the Element Man." Impulse, 1, No. 2 (Winter 1972), 24-31.

B13       "Rape Fantasies." The Fiddlehead, No 104 (Winter 1975), pp. 3-11. Rpt in Toronto Life, April 1977, pp. 58-60,109, 111-12 DG.

B14       "A Travel Piece." Saturday Night, May 1975, pp. 49-56. DG.

B15       "When It Happens." Chatelaine, Sept 1975, pp. 50-51, 93-99. DG.

B16       "Lady Oracle." Redbook, Aug. 1976, pp 159-81. LO (abridged).

B17       "Husbands and Lovers " Chatelaine, Sept. 1976, pp 49, 77-82. LO (excerpt).

B18       "Hair Jewellery." Ms Magazine, Dec. 1976, pp 53-55. DG.

B19       "The Resplendent Quetzal." The Malahat Review, No. 41 (Jan 1977), pp 175-8. DG.

B20       "Lives of the Poets." Saturday Night, April 1977, pp. 38-43. DG.

B21       "The Man from Mars." Ontario Review, No 6 (Spring-Summer 1977), pp. 7-24. DG.

B22       "Betty." Chatelaine, Feb. 1978, pp 41, 84, 86-88, 90, 92-94.

B23       "Dancing Girls and Other Stories." Chatelaine, March 1978, pp 35-36. DG (excerpt -- "Giving Birth").

B24       "Surfacing." Playgirl, March 1978, p 107 SURF (excerpt).

B25       "Prima di Lasciarsi." Trans. Grazia Griffini. Grazsa, 15 Oct 1978, pp. 142-44, 147, 149-50, 153, 155, 157, 159, 161.

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Source: Part 1: Works by Margaret Lawrence. Warwick, Susan J. (compiler); Toronto, Ontario : ECW Press, 1979, pp. 48-56

Part 1 Works by Margaret Laurence; Books; Children's book  

Warwick, Susan J. (compiler)

A12      Jason's Quest. Toronto: McClelland and Stewart, 1970. 211 pp.

         London: Macmillan, 1970. 160 pp.

         New York: Knopf, 1970. 211 pp.

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Source: Part 1: Works by Margaret Lawrence. Warwick, Susan J. (compiler); Toronto, Ontario : ECW Press, 1979, pp. 48-56

Part 1 Works by Margaret Laurence; Books; Criticism  

Warwick, Susan J. (compiler)

A 10      Long Drums and Canons: Nigerian Novelists and Dramatists 1952-1966. London: Macmillan, 1968. 209 pp.

          New York: Praeger, 1968. 209 pp.

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Source: Part 1: Works by Margaret Lawrence. Warwick, Susan J. (compiler); Toronto, Ontario : ECW Press, 1979, pp. 48-56

Part 1 Works by Margaret Laurence; Books; Edition  

Warwick, Susan J. (compiler)

A11      .........., ed. and trans. A Tree for Poverty: Somali Poetry and Prose. Nairobi: Eagle, 1954. 146 pp.

         Dublin: Irish Univ. Press, 1970. 146 pp.

         Hamilton, Ontario: McMaster Univ Library Press, 1970. 146 pp.

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Source: Part 1: Works by Margaret Lawrence. Warwick, Susan J. (compiler); Toronto, Ontario : ECW Press, 1979, pp. 48-56

Part 1 Works by Margaret Laurence; Books; Essays  

Warwick, Susan J. (compiler)

A8       The Prophet's Camel Bell. Toronto: McClelland and Stewart, 1963. 239 pp.

         London: Macmillan, 1963. 239 pp.

         New Wind in a Dry Land. New York: Knopf, 1964. 295 pp.

         Toronto: McClelland and Stewart, 1975. 239 pp.

A9       Heart of a Stranger. Toronto: McClelland and Stewart 1976. 221 pp.

               Includes "The Very Best Intentions" (B29), "The Epic Love of Elmii Bonderii" (B30), "Sayonara, Agamemnon" (B31), "In Pursuit of My Past on the Road from the Isles" (B32), "Open Letter to the Mother of Joe Bass" (B33), "I Am a Taxi" (B37), "Sources" (B38), "Down East" (B40), "Hello Aunt Nelly, I'm on the Telly" (B46), "Living Dangerously...By Mail" (B48), "Where the World Began: A Small Prairie Town as an Aspect of Myself" (B49), "The Wild Blue Yonder" (B51), "Loneliness Is Something That Doesn't Exist Here" (B53), "The Greatest Gift of All" (B54), "Man of Our People" (B78).

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Source: Part 1: Works by Margaret Lawrence. Warwick, Susan J. (compiler); Toronto, Ontario : ECW Press, 1979, pp. 48-56

Part 1 Works by Margaret Laurence; Books; Novels  

Warwick, Susan J. (compiler)

A1     This Side Jordan. Toronto: McClelland and Stewart, 1960 281 pp. London: Macmillan, 1960 281 pp.

       New York: St Martin's, 1960. 304 pp.

       Introd. G. D. Killam. New Canadian Library, No. 126.

       Toronto: McClelland and Stewart, 1976. 281 pp.

A2     The Stone Angel. Toronto: McClelland and Stewart, 1964 308 pp.

       London: Macmillan, 1964. 263 pp.

       New York: Knopf, 1964. 308 pp.

       Der Steinerne Engel. Trans. Herbert Schluter. Munich: Droemer Knaur, 1965 349 pp.

       Introd. W H. New. New Canadian Library, No 59.

       Toronto: McClelland and Stewart, 1968 308 pp.

       London: Panther Books, 1970. 240 pp.

       L'Ange de Pierre. Trans. Claire Martin. Montreal: P. Tisseyre, 1976. 342 pp.

       Toronto: McClelland and Stewart-Bantam, 1978. 275 pp.

A3     A Jest of God. Toronto: McClelland and Stewart, 1966. 202 pp.

       London: Macmillan, 1966. 202 pp.

       New York: Knopf, 1966. 240 pp.

       New York: Popular Library, 1966 175 pp.

       Now! Lay Me Down. London: Panther, 1968. 188 pp.

       Rachel, Rachel. London: Panther, 1968 192 pp.

       Raquel, Raquel. Trans. Agustin Gil Lasierra. Barcelona-Ediciones Grijalbo, 1969 223 pp.

       Introd. G. D. Killam. New Canadian Library, No 111.

       Toronto: McClelland and Stewart, 1974. 202 pp.

       Toronto: McClelland and Stewart-Bantam, 1977. 246 pp.

A4     The Fire-Dwellers. Toronto: McClelland and Stewart, 1969. 308 pp.

       London: Macmillan, 1969 264 pp.

       New York: Knopf, 1969 308 pp.

       New York: Popular Library, 1969 317 pp.

       Ta Maison est en Feu. Trans. Rosine Fitzgerald. Paris: Editions Stock, 1971 318 pp.

       Introd. Allan Bevan. New Canadian Library, No. 87.

       Toronto: McClelland and Stewart, 1973 308 pp.

       London: Panther, 1973. 240 pp.

       Toronto: McClelland and Stewart-Bantam, 1978 277 pp.

A5     The Diviners. Toronto: McClelland and Stewart, 1974. 382 pp.

       London: Macmillan, 1974 160 pp.

       New York: Knopf, 1974. 382 pp.

       Toronto: Bantam, 1975. 467 pp.

       London: Bantam, 1976. 480 pp.

       Introd. David Staines. New Canadian Library, No 146.

       Toronto: McClelland and Stewart, 1978. 467 pp.

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Source: Part 1: Works by Margaret Lawrence. Warwick, Susan J. (compiler); Toronto, Ontario : ECW Press, 1979, pp. 48-56

Part 1 Works by Margaret Laurence; Books; Stories  

Warwick, Susan J. (compiler)

A6       The Tomorrow-Tamer. Toronto: McClelland and Stewart, 1963 243 pp.

         London: Macmillan, 1963. 243 pp.

         New York: Knopf, 1964. 236 pp.

         Die Stimmen von Adamo. Trans. Herbert Schluter

         Munich: Droemer Knaur, 1965

         Introd. Clara Thomas. New Canadian Library, No. 70.

         Toronto: McClelland and Stewart, 1970. 244 pp.

           Includes "Drummer of All the World" (B10), "The Merchant of Heaven" (Bll), "The Perfume Sea" (B12), "Godman's Master" (B13), "A Gourdful of Glory" (B14), "The Tomorrow-Tamer" (B15), "The Ram Child" (B16), "The Spell of the Distant Drum" (B17), "The Pure Diamond Man" (B18).

A7       A Bird in the House: Stories. Toronto: McClelland and Stewart, 1970 207 pp.

         London: Macmillan, 1970 224 pp.

         New York: Knopf, 1970. 207 pp

         Introd. Robert Gibbs. New Canadian Library, No 96.

         Toronto: McClelland and Stewart, 1974. 207 pp.

         Includes "The Sound of the Singing" (B20), "To Set Our House in Order" (B21), "A Bird in the House" (B23), "The Mask of the Bear" (B24), "Crying of the Loons" (B25), "Horses of the Night" (B26), "Nanuk" (B27).

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Source: Part 1: Works by Margaret Lawrence. Warwick, Susan J. (compiler); Toronto, Ontario : ECW Press, 1979, pp. 48-56

Part 1 Works by Margaret Laurence; Contributions to periodicals, newspapers, books, and anthologies; Articles  

Warwick, Susan J. (compiler)

B29 "The Very Best Intentions " Holiday, Nov 1964, pp. 107-08, 111, 125. HS.

B30 "The Epic Love of Elmii Bonderii." Holiday, Nov 1965, pp. 35, 37, 39-40. HS.

B31 "Sayonara, Agamemnon." Holiday, Jan. 1966, pp. 21-24, 28-30. HS.

B32 "In Pursuit of My Past on the Road from the Isles." Maclean's, 2 May 1966, pp 26a-26h. HS ("Road from the Isles").

B33 "Introduction." In The Lamp at Noon and Other Stories. By Sinclair Ross. New Canadian Library, No.62. Toronto: McClelland and Stewart, 1968, pp. 7-12.

B34 "Open Letter to the Mother of Joe Bass." In The New Romans. Ed. A W. Purdy. Edmonton: M. G. Hurtig, 1968, pp 34-37. HS.

B35 "Ten Years' Sentences." Canadian Literature, No. 41 (Summer 1969), pp. 10-16. ML.

B36 "Author's Commentary." In Sixteen by Twelve. Ed. John Metcalf. Toronto: McGraw-Hill Ryerson, 1970, pp. 71-73.

B37 "I Am a Taxi." Vancouver Sun, 7 Feb. 1970, p 6. HS.

B38 "Sources." Mosaic, 3, No 3 (April 1970), 80-84 HS ("A Place to Stand On"); ML.

B39 "The Natives are Restless Tonight." Vancouver Sun, 26 Dec 1970, p. 6.

B40 "Down East." Vancouver Sun, 20 March 1971, p. 6 HS.

B41 "Salute of the Swallows." Vancouver Sun, 22 May 1971, p. 6.

B42 "The River Flows Both Ways." Vancouver Sun, 11 Dec 1971, p 6.

B43 "Time and the Narrative Voice." In The Narrative Voice. Ed. John Metcalf. Toronto: McGraw-Hill Ryerson, 1972, pp 126-30. ML.

B44 "Put Out One or Two More Flags." Vancouver Sun, 25 Feb 1972, p. 6 HS.

B45 "Voices from Future Places." Vancouver Sun, 23 April 1972, p. 6.

B46 "Hello Aunt Nelly, I'm on the Telly." Vancouver Sun, 17 June 1972, p. 6. HS ("Inside the Idiot Box").

B47 "Commentary." Journal of Canadian Fiction, 1, No 3 (Summer 1972), 74-75.

B48 "Living Dangerously. . By Mail." Vancouver Sun, 23 Sept. 1972, p. 6. HS.

B49 "Where the World Began: A Small Prairie Town as an Aspect of Myself." Maclean's, Dec. 1972, pp 22-23, 80. HS.

B50 "I Saw a Lot of Good Canadian Books and That's What Counts." Toronto Star, 31 Dec 1972, p. D5.

B51 "The Wild Blue Yonder." Vancouver Sun, 1 Sept 1973, p. 6. HS.

B52 "Introduction." In Above Ground. By Jack Ludwig. New Canadian Library, No 100. Toronto: McClelland and Stewart, 1974, n pag.

B53 "Loneliness Is Something That Doesn't Exist Here." Weekend Magazine, 11 May 1974, p. 7. HS ("The Shack").

B54 "The Greatest Gift of All." Weekend Magazine, 21 Dec. 1974, pp 2-4. HS ("Upon a Midnight Clear").

B55 "A Flourishing Art." Journal of Canadian Studies, 10 No. 2 (May 1975), 83-84.

B56 "Introduction." In House of Hate. By Percy Janes. New Canadian Library, No 124. Toronto: McClelland and Stewart, 1976, pp vii-xi.

B57 "Listen Just Listen." In Divided We Stand. Ed. Gary Geddes. Toronto: Peter Martin Associates, 1977, pp. 20-25.

B58 "Introduction." In Crackpot. By Adele Wiseman. New Canadian Library, No 144. Toronto: McClelland and Stewart, 1978, pp 3-8.

B59 "Ivory Towers or Grassroots?: The Novelist as Socio-Political Being." In A Political Art: Essays and Images in Honour of George Woodcock. Ed. William H. New. Vancouver: Univ. of British Columbia Press, 1978, pp. 15-25.

B60 "Quebec's 'Freedom' Is a Vital Concern but Freedom Itself Is That and More." Maclean's, 17 April 1978, p.18.

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Source: Part 1: Works by Margaret Lawrence. Warwick, Susan J. (compiler); Toronto, Ontario : ECW Press, 1979, pp. 48-56

Part 1 Works by Margaret Laurence; Contributions to periodicals, newspapers, books, and anthologies; Miscellaneous works  

Warwick, Susan J. (compiler)

B97 "The Perfume Sea." Adapted by Max Shoub. Shoestring Theatre, CBC TV, Montreal, April 1964.

B98 "The Stone Angel." Excerpt adapted by George Ryga. Sunday Night, CBC, April 1965. FM Theatre, CBC FM Network, Oct. 1966.

B99 "A Bird in the House." Adapted by Len Peterson Tuesday Night, CBC, Feb. 1966.

B100 "The Half-Husky." Adaptation. Anthology, CBC, Autumn 1967.

B101 Paul Newman, dir., Rachel, Rachel, with Joanne Woodward, United Artists, 1972.

B102 "Margaret Laurence." Canadian Writers on Tape. Toronto: Ontario Institute for Studies in Education, 1974. Interview by Earle Toppings.

B103 Norma Edward, The Women of Margaret Laurence, dir. Frances Halpenny, Phoenix Theatre, Nov. 1978.

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Source: Part 1: Works by Margaret Lawrence. Warwick, Susan J. (compiler); Toronto, Ontario : ECW Press, 1979, pp. 48-56

Part 1 Works by Margaret Laurence; Contributions to periodicals, newspapers, books, and anthologies; Poems  

Warwick, Susan J. (compiler)

         Note: When an items is reprinted in one of Laurence's
         books, this fact is noted in the entry through the
         following abbreviations:
 
          A Tree for Poverty .......................TP
          This Side Jordan .........................TSJ
          The Tomorrow-Tamer ....................TT
          The Prophet's Camel Bell .................PCB
          The Stone Angel .........................SA
          A Jest of God .............................JG
          Long Drums and Canons .................LDC
          The Fire-Dwellers ........................FD
          A Bird In the House ......................BH
          Jason's Quest .............................JQ
          The Diviners ...........................DIV
          Heart of a Stranger .......................HS
          Margaret Laurence: The Writer and Her Critics ML
 

B1 "Poems." VOX, 18, No 3 (1945), 32.

B2 "Cabbages." VOX, 18, No 3b (1945), 19.

B3 "Chants " VOX, 18, No. 3b (1945), 17.

B4 "Classical Framework." VOX, 20, No 1 (1946), 26-27.

B5 "Bread Hath He" VOX, 20, No. 2 (1947), 21.

B6 "Song of the Race of Ulysses " VOX, 20, No. 2 (1947), 20.

B7 "Song for Spring." Canadian Author and Bookman, 42 (Winter 1966), 7. This poem was written in 1944, but not published until 1966.

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Source: Part 1: Works by Margaret Lawrence. Warwick, Susan J. (compiler); Toronto, Ontario : ECW Press, 1979, pp. 48-56

Part 1 Works by Margaret Laurence; Contributions to periodicals, newspapers, books, and anthologies; Reviews  

Warwick, Susan J. (compiler)

B61 "Myth into Man." Rev. of Rizpah, by Charles E Israel. Canadian Literature, No 9 (Summer 1961), pp 68-69.

B62 "A Canadian Classic." Rev. of Jake and the Kid, by W. O. Mitchell Canadian Literature, No. 11 (Winter 1962), pp. 68-70.

B63 "The Ring of Authenticity." Rev. of In High Places, by Arthur Hailey. Canadian Literature, No 13 (Summer 1962), pp 75-76.

B64 "Illusions of Simplicity." Rev. of Ask the Name of the Lion, by Ralph Allen. Canadian Literature, No. 14 (Autumn 1962), pp. 57-62.

B65 "Holy Terror." Rev. of The Kite, by W. O. Mitchell. Canadian Literature, No 15 (Winter 1963), pp. 76-77.

B66 "Roses and Yew." Rev. of Memoirs of Montparnasse, by John Glassco. The Tamarack Rewew, No. 54(Winter 1970), pp. 77-80.

B67 "Stubborn Pride." Rev. of The Humpback, by Mort Forer. The Tamarack Review, No. 55 (Spring 1970), pp. 77-79.

B68 "Caverns to the Mind's Dark Continent." Rev. of The New Ancestors, by Dave Godfrey. The Globe Magazine, 5 Dec 1970, p. 18.

B69 "African Experience." Rev. of Farquharson's Physique and What It Did to His Mind, by David Knight. Journal of Canadian Fiction, 1, No I (Winter 1972), 77-78.

B70 Rev. of Bartleby, by Chris Scott. Books in Canada, April 1972, pp. 3-4.

B71 Rev. of Crackpot, by Adele Wiseman. The Globe and Mail, 28 Sept. 1974, p. 33.

B72 Rev. of Alligator Pie and Nicholas Knock and Other People, by Dennis Lee. The Globe and Mail, 5 Oct l974, p. 35.

B73 "Sinclair Ross Looks at the Prairies, His Time and Place." Rev. of Sawbones Memorial, by Sinclair Ross. The Gazette [Montreal], 9 Nov. 1974, p. 58.

B74 Rev. of Memoirs of a Survivor, by Doris Lessing. The Globe and Mail, 7 June 1975, p. 37.

B75 Rev. of Themes for Diverse Instruments, by Jane Rule. The Globe and Mail, 25 June 1975, p. 23.

B76 Rev. of Radclyffe Hall at the Well of Loneliness, by Lovat Dickson. The Globe and Mail, 30 Aug 1975, p.30.

B77 Rev. of Ross and Buckler, by Robert D. Chambers. The Globe and Mail, 8 Nov. 1975, p. 35.

B78 "Man of Our People." Rev. of Gabriel Dumont: The Metis Chief and His Lost World, by George Woodcock. The Canadian Forum, Dec.-Jan. 1976, pp. 28-29. HS.(revised).

B79 "More Perils of Pauline." Rev. of Durer's Angel, by Marie-Claire Blais. Trans. David Lobdell. Books in Canada, April 1977, pp. 25-26.

B80 "Author's Choice." Rev. of Whale Sound, by Greg Gatenby, and Divided We Stand, by Gary Geddes. Toronto Star, 10 Dec 1977, p. D8.

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Source: Part 1: Works by Margaret Lawrence. Warwick, Susan J. (compiler); Toronto, Ontario : ECW Press, 1979, pp. 48-56

Part 1 Works by Margaret Laurence; Contributions to periodicals, newspapers, books, and anthologies; Selected anthology contributions  

Warwick, Susan J. (compiler)

B81 "To Set Our House in Order." In Modern Canadian Stories. Ed. Giose Rimanelli and Roberto Ruberto. Toronto: Ryerson, 1966, pp. 247-61.

B82 Excerpt from A Jest of God. In Canadian Writing Today. Comp Mordecai Richler. Harmondsworth, England: Penguin, 1970, pp. 203-09.

B83 "A Gourdful of Glory." In Great Canadian Short Stories. Comp. Alec Lucas. New York: Dell, 1971, pp. 225-40.

B84 "Horses of the Night." In Contemporary Voices: The Short Story in Canada. Ed. Donald Stephens. Scarborough, Ontario: Prentice-Hall, 1972, pp. 59-73.

B85 "The Drummer of All the World." In The Evolution of Canadian Literature in English 1945-1970. Ed. Paul Denham. Toronto: Holt, Rinehart and Winston, 1973, pp. 160-70.

B86 "The Holy Terror." In The Oxford Anthology of Canadian Literature. Ed. Robert L. Weaver and William Toye. Toronto: Oxford Univ. Press, 1973, pp. 252-64 SA (excerpt).

B87 "Silverthreads." In Canadian Literature: Two Centuries in Prose. Ed. Brita Mickleburgh. Toronto: McClelland and Stewart, 1973, pp. 289-98. SA (excerpt).

B88 "Ten Years' Sentences." In Writers of the Prairies. Comp. D. G. Stephens. Vancouver: Univ. of British Columbia Press, 1973, pp. 142-48.

B89 "The Loons." In The Prairie Experience. Ed. Terry Angus. Toronto: Macmillan, 1975, pp 85-96.

B90 "To Set Our House in Order." In The Role of Woman in Canadian Literature. Ed. Elizabeth McCullough. Toronto: Macmillan, 1975, pp 36-51.

B91 Excerpt from A Jest of God. In Women in Canadian Literature. Ed. M. G. Hesse. Ottawa: Borealis, 1976, pp. 210-15.

B92 Excerpt from The Stone Angel. In Women in Canadian Literature. Ed. M.G. Hesse. Ottawa: Borealis, 1976, pp. 271-74.

B93 "Speaking of Writing." In The Artist in Canadian Literature. Ed. Lionel Wilson. Toronto: Macmillan, 1976, pp. 69-72.

B94 "Where the World Began." In The Search for Identity. Ed. James Foley. Toronto: Macmillan, 1976, pp 98-103.

B95 "The Loons." In Horizon: Writings of the Canadian Prairie. Ed. Ken Mitchell. Toronto: Oxford Univ. Press, 1977, pp. 193-201.

B96 "The Perfume Sea." In Here and Now. Ed. Clark Blaise and John Metcalf. Ottawa: Oberon, 1977, pp. 39-60.

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Source: Part 1: Works by Margaret Lawrence. Warwick, Susan J. (compiler); Toronto, Ontario : ECW Press, 1979, pp. 48-56

Part 1 Works by Margaret Laurence; Contributions to periodicals, newspapers, books, and anthologies; Short stories  

Warwick, Susan J. (compiler)

B8 "Calliope." VOX, 18, No. 3b (1945), 10-12.

B9 "Tal des Waldes." VOX, 19, No 3 (1946), 3-5, 39-40, 54.

B10 "Drummer of All the World." Queen's Quarterly, 63 (Winter 1956), 487-504. TT.

Bll "The Merchant of Heaven." Prism International, 1, No. 1 (Sept 1959), 52-74 TT.

B12 "The Perfume Sea." In Winter's Tales 6 Ed. A.D. MacLean. London: Macmillan, 1960, pp. 83-120. Rpt. (abridged) "The Exiles." In Saturday Evening Post, 3 June 1961, pp 28-29. TT("The Perfume Sea").

B13 "Godman's Master." Prism International, 1, No 3 (Spring 1960), 46-64 TT.

B14 "A Gourdful of Glory." The Tamarack Review, No. 17(Autumn 1960), pp. 5-20 TT. Laurence was awarded the President's Medal by the University of Western Ontario in 1961 for this story.

B15 "The Tomorrow-Tamer." Prism International, 3, No. 1 (Fall 1961), 36-54 TT.

B16 "The Rain-Child." In Winter's Tales 8 Ed. A D. MacLean. New York: St. Martin's, 1962, pp. 105-42. TT.

B17 "The Spell of the Distant Drum." The Saturday Evening Post, 5 May 1962, pp 24-25. TT (abridged--"The Voices of Adamo").

B18 "The Sound of the Singing." In Winter's Tales 9 Ed A.D. MacLean. New York: St Martin's, 1963, pp. 62-104. BH.

B19 "The Pure Diamond Man." The Tamarack Review, No. 26 (Winter 1963), pp. 3-21. TT

B20 "Mask of Beaten Gold." The Tamarack Rewew, No. 29(Autumn 1963), pp. 3-21. Laurence was awarded the President's Medal by the University of Western Ontario in 1963 for this story.

B21 "To Set Our House in Order." Ladies Home Journal, March 1964, pp. 80-82. BH (abridged -- "To Set Our House in Order").

B22 "A Queen in Thebes." The Tamarack Review, No. 32(Summer 1964), pp 25-37.

B23 "A Bird in the House." Atlantic Monthly, Nov 1964, pp. 64-71. Rpt. "Ein Vogel im Haus." Trans. Walter Riedel. In Kanada: Moderne Erzahler Der Welt. Tubingin und Basel: Horst Erdman, 1976, pp. 284-305 BH.

B24 "The Mask of the Bear." In Winter's Tales 11. Ed A.D. MacLean. New York: St. Martin's, 1965, pp. 37-61. BH.

B25 "Crying of the Loons." Atlantic Advocate. March 1966, pp. 34-38. BH ("The Loons").

B26 "Horses of the Night." Chatelaine, July 1967, pp. 46, 70-77. BH.

B27 "Nanuk." Argosy, Nov. 1967. Rpt. "Le Batard." In Liberte, March-April 1969, pp. 143-61. BH ("The Half-Husky").

B28 "The Olden-Days Coat." Weekend Magazine, 20 Dec. 1975, pp. 2-4.

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Source: Part 2: Works on Margaret Atwood. Horne, Alan J. (compiler); Toronto, Ontario : ECW Press, 1979, pp. 22-46

Part 2 Works on Margaret Atwood; Books, articles and sections of books, theses and dissertation, interviews, awards and honours; Articles and sections of books  

Horne, Alan J. (compiler)

C2      Dawe, Alan, introd. The Edible Woman. By Margaret Atwood New Canadian Library, No. 93. Toronto McClelland and Stewart, 1969, pp. [2-7]. Thematically and structurally, The Edible Woman is about choices -- "the intelligent woman's guide to survival in the contemporary world." Beneath the comic surface of the novel is rage -- even the most comic scenes contain an element of horror. The central image of "eating" advances and unifies the story.

C3      Woodcock, George "Margaret Atwood" Literary Half-Yearly, 13, No 2(July 1972), 233-42. Identifies three essential characteristics of Atwood's poetic character -- the sharp, ironic inversion, the movement from the metaphorical to the literal use of images; and the combination of visual sensibility with intellectual discipline. The identity of her poems and her first novel is very close -- both are about the distances and defences between human beings. Atwood's experience in handling images and myths in her poetry is reflected in the craftsmanship of The Edible Woman. In addition, this is a "social novel of high perceptiveness." Atwood does for her own generation what Jane Austen did for hers.

C4      Ayre, J. "Margaret Atwood and the End of Colonialism." Saturday Night, Nov 1972, pp. 23-26. "Nationalist radicals" like Atwood believe that the older writers such as Callaghan and Richler "are locked into alienated colonialist attitudes, persisting in their belief that cultural standards are set in New York or London." Because of her intense feeling about this, Atwood spent the last year spreading her ideas about Canadian literature and national identity. Some biographical details follow and some perceptive comments about her writing -- she "plays the role of psychic iconoclast, pulling the categories of existence apart and presenting a broken, confused reality that her readers must often put back in order for themselves."

C5      Mathews, Robin. "Survival and Struggle in Canadian Literature." This Magazine Is about Schools, 6, No 4 (Winter 1972-73), 109-24. The most influential review article on Survival to take a strongly critical view of Atwood's thesis. Mathews claims that Atwood's selection of writers and books is made almost entirely from those which express alienation, defeat, and victimization, and omits those which are examples of recognition, struggle, and conviction. "Nor is there any significant use of major Canadian writers who have dealt deeply with our colonial condition, writers that are at home in the recognition of oppression and the struggle against it. How is it possible to write a thematic guide to Canadian literature and neglect totally or almost totally people like D. C. Scott, F R. Scott, Richardson, Livesay, Marriott, Lampman, MacLennan, Mitchell, Haliburton, Leacock . . . ?" As a result, the view of Canadian literature in the book is "partial towards the conventional colonial view held by the past Establishment. Atwood engages in a put-down of Canadian imagination . . ."

C6      Onley, Gloria. "Margaret Atwood: Surfacing in the Interests of Survival." West Coast Review, 7, No 3(Jan. 1973), 51-54. For Onley, Atwood's work is significant because it is "so clearly in tune with the radical spirit of her times." Atwood's thematic analysis in Survival is reminiscent of the psychology of R. D. Laing. Perhaps her basic "Victim Positions" are "a non-symmetrical 'mapping' of Laing's psychology onto Northrop Frye's theory of fictional modes in which fictions are classified by the hero's power of action." Survival is seen as a map "to dangerous territories to study vicariously and avoid as much as possible in one's own life." But the victim/victor pattern is not a national neurosis as Atwood contends but part of the human condition. Any use of language at all is to risk participation in that structure. Atwood expresses this in Surfacing, which is concerned with indicating what must be removed, including language, "so that a true sense of self may be uncovered and a movement begun in the direction of communication and community."

C7      French, William. "Icon and Target: Atwood As Thing." The Globe and Mail, 7 April 1973, p 28. A summary of Atwood's speech to the Empire Club in April 1973 (see B50). She realizes that she has become a sort of symbol of Canadian national cultural aspirations, a "Thing" rather than a celebrity. The answers a "Thing" gives are listened to, but are shot at as well as worshipped. Serious cultural nationalists want a distractive culture and are unafraid of measuring it against international standards.

C8      Davey, Frank. "Atwood Walking Backwards" Open Letter, 2nd Ser, No. 5 (Summer 1973), 74-84. A highly critical article about Surfacing and Survival. Davey interprets Surfacing as a reworking of previous themes though finding it a technical advance. In Survival there is an over-emphasis on House of Anansi publications, and a superficial treatment of "Canadian literature proper." Her generalizations are invalid because she has not achieved a balanced overview. Davey also faults her for seeking "Canadianism" within literary themes; for an obsessive search to confirm the victim/victimizer theme in Canadian literature; and for ignoring "the very large and significant celebratory tradition in Canadian poetry."

C9      Webb, Phyllis. "Letters to Margaret Atwood." Open Letter, 2nd Ser., No 5 (Summer 1973), 71-73. A personal response to Atwood and her work, inspired by the publication of Survival.

C10     Woodcock, George. "Surfacing to Survive: Notes of the Recent Atwood." Ariel, 4, No. 3 (July 1973), 16-28. Woodcock wrote in an earlier article (see C3) that the poems in Atwood's Power Politics express "an attitude to life that is evident in all Atwood's writings -- an attitude appropriate to an age when survival has become the great achievement." Both Survival and Surfacing develop this personal ethic. In Survival, Atwood's "brilliant intelligence has been unable to put the brakes on. . . but the absurdities of the intelligent are always worth observing for the serious things they reveal." From the recognition of one's place, one's predicament, starts a journey of self-discovery and growth, and this pattern of hope is presented at the end of Survival. Surfacing is a novel of self-realization, but it also possesses an element of self-criticism. At the end of the novel there is sanity, a real understanding of reality. In Survival, the writer's perceptions "are transformed into discursive nets that entrap the reason. In Surfacing the perceptions are protected in a strange winter light of satire, they are etched with the lineaments of myth."

C11     Gutteridge, Don. "Surviving the Fittest: Margaret Atwood and the Sparrow's Fall." Journal of Canadian Studies, 8, No 3 (Aug 1973), 59-64. "Survival is so good. And yet so dangerous. Its power and persuasiveness derive from its myriad minor insights into certain authors, novels, poems, etc, and in one major semi-flawed critical revelation." The theme of survival and the victim is supported only by Atwood's luscious selection of material -- for example, Fred Bodsworth's The Sparrow's Fall is omitted because it does not fit into her thesis. Gutteridge analyses this novel in some detail and concludes that "Bodsworth presents us with what we can only call 'a creative victim.'" Because this does not fit with Atwood's theme, she is forced to avoid any reference to it -- "What credence can we give, then, to Miss Atwood's thesis?"

C12     Piercy, Marge. "Margaret Atwood -- Beyond Victimhood." American Poetry Review, 2, No. 6 (Nov-Dec 1973), 41-44. A long general article covering the two novels, five books of poetry, and Survival, which Atwood had then written. The author admires Atwood and hopes that, as she has come to identify herself in the tradition she has defined as literature of a victimized colony, she will "help consciously define another growing body to which her work in many of its themes belongs: a women's culture."

C13     Davey, Frank. "Margaret Atwood." In From There to Here: A Guide to English-Canadian Literature Since 1960. Our Nature -- Our Voices, Vol II Erin, Ontario: Press Porcepic, 1974, pp 30-36. A short, positive survey of Atwood's work, of which her poetry is claimed as her most accomplished and important. The first two novels elaborate on the themes expressed in the poetry and make them more explicit without expanding them. The usefulness of Survival has been in provoking interest in Canadian writing. Atwood claims the themes of victimization and survival dominate the literature, but she can only do this by being very selective in choosing her texts.

C14     Page, Sheila. "Supermarket Survival: A Critical Analysis of Margaret Atwood's 'The Edible Woman.'" Sphinx, No 1 (Winter 1974), pp. 9-19. The writer sees Marian as an instinctive victim, knowing who are her hunters though never naming them. Her relationship with Peter is a well-defined example of the hunted-hunter, consumer-consumed phenomenon. "He is the quintessence of mediocrity, he is so conventional he is no longer human. "He gains control over Marian's life but she increasingly sees him as an authoritative figure -- a powerful doctor, a photographer who will "capture" her image, a hunter. All of Atwood's characters express the humanity vs commodity situation. By the end of the novel, though "the consumer society gulps on. . .Marian has realized her body with her head" and seems likely to survive.

C15     Onley, Gloria. "Power Politics in Bluebeard's Castle." Canadian Literature, No 60 (Spring 1974), pp 21-42. A study of the sexual politics evidenced in Atwood's work. The theme of Power Politics is "role-engulfment" -- for the woman, self is lost in the modern version of romantic love, a devastating mode of existence. Sexual love is imaged several times as a shattering of the ego, the body is described as a mechanism remotely controlled by the head. These themes are repeated in Surfacing, where sex is linked to mechanization, coercion, and death. A link between depersonalized sex and modern technology was suggested by George Steiner in his In Bluebeard's Castle: Notes Towards a Redefinition of Culture; and there is also expressed the view that syntax is an active mirroring of systems of power and order. In Surfacing language is seen as a means of imposing psychological power structures; and in Power Politics language is described as turning from tool to weapon. Language itself is Bluebeard's Castle. Atwood suggests that the end of sexual politics might come only with the end of civilization as we know it. Her works are "frighteningly precise image structures, iconoclastic keys to getting mentally outside Bluebeard's Castle."

C16     Morley, Patricia. "Survival, Affirmation and Joy." Lakehead University Review, 7, No. 1 (Summer 1974), 21-30. Morley agrees with Robin Mathews in rejecting Atwood's claim that Survival was not intended to be evaluative. Atwood selected what supported her thesis; she equates the literature of survival with failure, but Morley finds that it expresses joy as well as suffering, courage as well as fear. The value of the book is in its provocativeness, its wit, its ability to start debate.

C17     Macri, F. M. "Survival Kit: Margaret Atwood and the Canadian Scene." Modern Poetry Studies, 5, No 2 (Autumn 1974), 187-95. A most critical survey of Atwood's poetry, whose imagery and themes are claimed to be transparent and continually repeated. A reading of her prose works, particularly Survival, helps one appreciate better her creative talents. However, the exposition of themes, motifs, and recurrent patterns add up to a theory of Canadian literature which may confuse a whole generation into seeing victims everywhere.

C18     Schaeffer, Susan Fromberg. "'It Is Time That Separates Us': Margaret Atwood's 'Surfacing.'" Centennial Review, 18, No 4 (Fall 1974), 319-37. Schaeffer's thesis is that Surfacing is about mortality, victimization of all mankind, and is wrongly interpreted as about the victimization of women. Although the narrator is not the victim of a war between men and women, her hatred is directed more strongly against men as they are the more logical and more cruel. The narrator goes on a journey of self-discovery, a rite of passage, and attempts to merge the two aspects of her parents within herself. She believes that there are only two choices in life -- to immerse oneself in it or to be destroyed -- and finally she is committed to the first "Underneath its deceptively cool surface, Surfacing is an ingenious and heartbreaking, book."

C19     MacLulich, T. D. "The 'Survival' Shoot-Out." Essays on Canadian Writing, No. 1 (Winter 1974), pp 14-20. A serious but amusing article in which MacLulich sets the scene as though Survival were a gunslinger in a Western movie. He claims that Survival should be seen in its historical and literary context. After Canadian literature was established the new critics -- Frye, Jones, Sutherland, and Atwood -- were concerned with what the books said that was different from that said in British and American books. When Survival appeared, it annoyed many because of its lightweight style and because it seemed to challenge existing critical works, though it provided a synthesis of all previous thematic theories. Thus it "combined originality with academic poaching in a way that was infuriating to the critical gameskeeping mind." Critical responses to the book included the argument that Atwood was too selective in her examples, and that she insulted and challenged by seeming to blame Canadians for allowing themselves to be exploited.

C20     Brady, Elizabeth. "Towards a Happier History: Women and Domination." In Domination. Ed Alkis Kontos. Toronto Univ. of Toronto Press, 1975, pp. 17-31. This essay on attitudes to women and domination in Canada from the eighteenth century uses three novels as raw material. The section headed "The Twentieth Century" 'Oh, Screw My Femininity'" deals with woman's predicament as described in The Edible Woman. The novel offers a probing criticism of the consumer society and of the capitalist political theory that it is based on. Atwood's specific targets are market research and advertising, both of which create and sustain the media myth of the middle-class Domestic Woman. Marian eventually rejects the false notions of femininity which dominate her own identity. Brady claims that Atwood's real achievement is to have related the various forms of male domination to the larger structure of consumer capitalism.

C21     French, William. "The Women of Our Literary Life."' Imperial Oil Review, 59, No 1 (1975), 2-7. Rpt. in Canadian Author and Bookman, 51 (Spring 1976), 1-6. A brief survey of women fiction writers in Canada from Frances Brooke, whose novel The History of Emily Montague was published in 1769, to the present day. French describes Atwood as "the best-known and most versatile" of the leading women writers today.

C22     McLay, Catherine. "The Divided Self: Theme and Pattern in Margaret Atwood's 'Surfacing.'" Journal of Canadian Fiction, 4, No 1(1975), 82-95. McLay sees the theme of Surfacing as the search for unity in a self which has become divided, a modern dilemma explained by R. D. Laing. In Atwood's book, the physical journey undertaken by the narrator becomes a journey into her own mind. She experiences a disruption in a sense of place and also a dislocation in personal relationships. She comes to see the world as chaotic and threatening and society as dominated by "the enemy." There is a widening separation between self and others, marked by the increasing problem of communication as represented by language. At the end, the narrator accepts her own humanity and sees others as fallible humans too; accepts the necessity of language and the need to trust, and so achieves "some kind of harmony with the world." The self is no longer divided.

C23     Woodcock, George "Margaret Atwood: Poet as Novelist." In The Canadian Novel in the Twentieth Century. Ed George Woodcock. New Canadian Library, No. 115. Toronto: McClelland and Stewart, 1975, pp. 312-27. This article, dated 1974, was constructed from two previously published articles which appeared in The Literary Half-Yearly (see C3) and Ariel (see C10). Woodcock's conclusion is that a consideration both of Atwood's prose writings and of her poetry shows "the versatility with which her intelligence plays over the horizons of her perceptions. . . . No other writer of Margaret Atwood's generation has so wide a command of the resources of literature, so telling a restraint in their use."

C24     Norris, Ken. "Survival in the Writings of Margaret Atwood." CrossCountry, No 1 (Winter 1975), pp 1829. A reading of Atwood's work which finds the theme of survival central to her fiction and poetry. In both of her first two novels, her heroines are victims at the outset, but during the course of the narrative, they obtain some sort of self-realization and at the end reach a point where they can decide whether or not to remain victims. As well as survival, Atwood in her work hopes to achieve a respect for life.

C25     Frankel, Vivian. "Margaret Atwood: A Personal View." Branching Out, 2, No 1 (Jan-Feb 1975), 24-26. A superficial article. It offers an interesting view of Atwood reading to university audiences in Montreal, and attempts to clear up some misconceptions which have arisen about the -- 'Atwood legend' - that she is hostile to men, and finds them threatening; that she is a menacing pessimist. It asserts that Atwood knows what is important to her and what is not. Contains good photographs.

C26     Conlon, Patrick. "Margaret Atwood: Beneath the Surface." Toronto Life, Feb. 1975, pp. 44-51. A good, professionally journalistic article, mostly biographical. It provides some interesting insights into Atwood's relations with the public, her friends, and the reviewers.

C27     Christ, Carol P. "Margaret Atwood: The Surfacing of Women's Spiritual Quest and Vision." Signs: Journal of Women in Culture and Society, 2, No 2 (1976), 316-30. Sees Surfacing as a feminist theological tract -- claims categorically that it "is about a woman's spiritual quest; the unnamed protagonist. . . .seeks redemption," and that it contains a "powerful religious vision [which] merits the attention of feminist critics." The abortion incident in the novel is dealt with specifically as a feminist issue.

C28     Northey, Margot "Sociological Gothic: 'Wild Geese' and 'Surfacing.'" In The Haunted Wilderness: The Gothic and Grotesque in Canadian Fiction. Toronto: Univ. of Toronto Press, 1976, pp. 62-69. Northey claims Surfacing as an example of "sociological gothic" as it contains elements belonging to the fantastic world of romance and to realistic or analytic fiction. She describes where she finds these elements in the book, comparing and contrasting it to Martha Ostenso's Wild Geese.

C29     Plaskow, Judith. "On Carol Christ on Margaret Atwood: Some Theological Reflections." Signs: Journal of Women in Culture and Society, 2, No 2 (1976), 331-39. Mainly concerned with Christ's proposal for a future feminist theology as evoked by a reading of Surfacing; however this writer also sees Atwood's novel as a feminist tract -- "Atwood does not differ between legitimate and illegitimate abortions"; "Atwood's version of this connection (between women and nature) is oppressive"; "To paraphrase Atwood it is God in whom we are alive; She fulfills our waiting to become alive"; "just as Atwood is an important corrective to theological reflection on humanity/ nature relations, this same theology is clearly needed to balance Atwood."

C30     Gerson, Carole "Margaret Atwood and Quebec: A Footnote on 'Surfacing.'" Studies in Canadian Literature, 1, No. 1 (Winter 1976), 115-19. A comment about Atwood's reasons for setting Surfacing in Quebec, and the effect this has on the novel.

C31     Sullivan, Rosemary. "Surfacing and Deliverance." Canadian Literature, No. 67 (Winter 1976), pp 6-20. Sullivan contrasts Surfacing to James Dickey's Deliverance in order to identify what is peculiarly Canadian about Atwood's novel. The two books are closely related in exploring man's relations to nature but "are fundamentally opposed in the discoveries their characters make about nature and the resolutions to which these discoveries lead." For Atwood, the experience of nature offers at best survival -- there is no deliverance to another state; but it does lead to some sort of understanding of one's fellow human beings, an acceptance of the need for others. In Deliverance there is a romantic nostalgia for a spontaneous response to nature; and "the essential human problem for Dickey still remains the need to create other wildernesses of the imagination in which can be discovered something commensurate to man's capacity for wonder."

C32     Sweetapple, Rosemary. "Margaret Atwood: Victims and Survivors." Southern Review [University of Adelaide], 9, No 1 (March 1976),50-69. An essay on Surfacing which contains some perceptive comments, but which, by taking much of the text at face value, is liable to have misread it. The writer claims that Survival provides the key to the understanding of the novel which offers "a devastating world in which one eats or is eaten." In the end the narrator "achieves a possible position in an impossible world, by attempting to break down her personality and with it the patterns of acculturation, to come to a fresh view of herself."

C33     Bjerring, Nancy E. "The Problem of Language in Margaret Atwood's Surfacing.'" Queen's Quarterly, 83, No 4 (Winter 1976), 597-612. A fascinating attempt to explain how Atwood has used four "languages" in Surfacing, each expressing the attitudes of its users towards nature and art. The dominant language is "American" or social chatter, which renders human exchanges superficial and trivial, and perverts and debases art. David is the most linguistically dishonest character in the book -- his language can never be the means of conveying essential meaning. The narrator's father has adopted the language of science, "what we might call empirical/objective language." He has withdrawn from society into nature, believing that only there could he find the rational ordering missing in society. The narrator's mother and Joe have chosen silence as their "language"; they communicate as little as possible and expose their opinions as seldom as possible. The narrator is an outsider to all these language groups -- her language is a meta-language, the language of essential meaning, a language of visions "With the illumination of the meta-language she knows who she is and what she must do. . . . she must go back with Joe, to a new relationship demanding words, therefore involvement, therefore pain."

C34     Gerstenberger, Donna. "Conceptions Literary and Otherwise: Women Writers and the Modern Imagination." Novel: A Forum on Fiction, 9, No. 2 (Winter 1976), 141-50. An interesting article which discusses the need of contemporary feminist writers "to clear the inadequacy of past conceptions about reality, to alter what women(and men) have been taught to believe are given facts of existence, to call out the conspiratorial lies." Gerstenberger notes that the themes of alienation, the imperfections of language and the relative nature of truth, shared by most modernists including Atwood may be found in Ursula LeGuin's science fiction novel, The Left Hand of Darkness. She then deals with Surfacing at some length as the best example she knows of "a contemporary novel by a woman with feminist concerns which confronts the problems of myth and language."

C35     Garebian, Keith "'Surfacing': Apocalyptic Ghost Story." Mosaic, 9,No. 3 (Spring 1976), 1-9. The ghosts are used as "a vehicle to connect mixed literary modes and to integrate questions about innocence and guilt, alienation and harmony, fragmentation and wholeness into an adventure which takes the archetypal form of a quest while being moulded into an apocalypse of the heroine's mind and spirit. . . ." Garebian examines the structure of the novel, its malor themes, and Atwood's postulates about the heroine and her ghosts which "are essentially projections of the protagonist's troubled mind."

C36     Davey, Frank. "Surviving the Paraphrase." Canadian Literature, No.70 (Autumn 1976), pp. 5-13. A critical review of the thematic criticism of Northrop Frye, D.G. Jones, John Moss, and Atwood. Davey complains that many academic critics, including Atwood, appear ignorant of movements in contemporary Canadian writing; and that the focus of thematic criticism rests outside the writing. This sort of criticism then becomes an attempt "to define a national identity or a psychosis." The movement is towards a paraphrase of the explicit meaning of a work and neglects the content implicit in its structure, language, or imagery. Davey continues with some detailed comments on D. G. Jones' Butterfly on Rock.

C37     Rubenstein, Roberta. "'Surfacing': Margaret Atwood's Journey to the Interior." Modern Fiction Studies, 22, No 3 (Autumn 1976), 387-99. Surfacing contains more themes than just survival, and primarily it relates a journey of self-discovery to make whole the divided self. It deals also with death and rebirth, with the impingement of the past upon the present, with the use of language. "The novel both reveals and imaginatively extends the unity of theme and image of her previous work. . . [and] it achieves a symbolic and mythic enlargement of Atwood's vision that transcends cultural boundaries."

C38     MacGregor, Roy. "Mother Oracle." The Canadian, 25 Sept 1976, pp. 15-18. An interview-style article which describes Atwood's private life and how the public intrudes. MacGregor claims that in her work she is telling Canadians about themselves rather than about herself. A study of Survivalwoman in the comic strip "Kanadian Kultchur Komics," written and illustrated by Atwood, will produce a good picture of what she is like today. Well illustrated with colour photographs.

C39     Moss, John. "Strange Bedfellows: Atwood and Richler." In Sex and Violence in the Canadian Novel: The Ancestral Present. Toronto: McClelland and Stewart, 1977, pp 123-46. A detailed interpretation and comparison of Atwood's Surfacing and Richler's St Urbain's Horseman. The narrator in Surfacing struggles to resolve problems of self through a quest for meaningful identity; Richler's hero seeks the self which the impositions of identity obscure. However both make use of sexual violence to promote integrative ends, and both are moralists. Surfacing is a novel of qualified affirmation, and Richler's vision of reality is also one of qualified affirmation.

C40     King, Bruce. "Margaret Atwood's 'Surfacing.'" Journal of Commonwealth Literature, 12, No. 1 (Aug 1977), 23-32. A review article which perceives the theme of Surfacing to be "the search for authenticity and wholeness through rediscovery of the past, including the primitive." It is also a radically Canadian world which is shown and a Canadian past which is sought. Even the conclusion, with the narrator apparently ready to take up life again, is seen as a well-known Canadian theme, of a victim refusing to be victimized. "There has been no great success, no great tragedy. The road to salvation remains fogged and uncertain." King feels that the narrator's imaginative journey into the past was consciously planned to illustrate Atwood's view of the mythology of Canadian literature as detailed in Survival. He also suggests that "the conscious use of symbolism reflects a tendency in Canadian literary criticism, which often approaches the problem of a national cultural identity through the discovery in varied writers of characteristic themes and myths." The novel is well constructed and has a genuine organic texture and development. It has flaws of style and sensitivity -- the characters have a tendency to the stereotype and some ideas are treated with sentimentality. However, the novel is "serious, profound and beautifully written."

C41     Landsberg, Michele. "Late Motherhood." Chatelaine, Oct 1977, pp. 44-46, 119-23, 125. A fairly superficial article based on interviews with some of Canada's most celebrated women who had babies later than usual. Atwood is able to relax and enjoy her baby -- if she had become a mother in her twenties "it would have been a catastrophe. . .a very destructive thing to do."

C42     Nodelman, Perry. "Trusting the Untrustworthy." Journal of Canadian Fiction, No 21 (1977-78), pp 73-82. A review article on The Edible Woman which questions why Atwood chose to present much of her satirical novel as a first-person narrative. It creates the problem that the reader is asked to accept Marian's assessment of other characters who are only sketchily portrayed but to doubt her judgement of herself. "She has every attribute of intelligence but self-knowledge." The novel is about caricature." Its characters have chosen their rigidity as a defensive response to the complexities of lying, and Marian must understand that before she can escape her own self-caricature, her idea that she is an ordinary 'sensible' girl." The imagery Atwood uses -- of food, hunting, packaging, of eggs and turtles -- provides the information the reader needs to understand Marian's behavior when she does not understand herself. "Atwood's clever manipulations of point of view and imagery tie Marian's brilliant impressions together, and make her a sympathetic character."

C43     Cameron, Elspeth. "Margaret Atwood: A Patchwork Self." Book Forum, 4, No. 1 (1978), 35-45. A review article of Lady Oracle and Dancing Girls. According to the writer, in these books Atwood is showing the reader what it is like to be a famous writer, creating a persona for her public to believe in. "Life is nothing more than a series of roles tenuously pieced together into a patchwork self." The conflict of "role" and "self" is a deadly one, and only the relationships of real men and women bring fulfillment.

C44     Mathews, Robin. "Margaret Atwood: Survivalism." In Canadian Literature: Surrender or Revolution. Toronto: Steel Rail Educational Publishing, 1978, pp 119-50. A slightly edited version of the essay which appeared in This Magazine Is about Schools (see C5). Mathews finds no change in his view of Survival -- it is "a fundamentally misguided view of Canadian literature." There is more emphasis in this version on Atwood's "selling out" to the forces of imperialism. "Fight as she appears to do against U.S.terms [of being], Atwood accepts them and builds them into her book with the result that she cannot read. . .what much Canadian literature is saying."

C45     Steele, James. "The Literary Criticism of Margaret Atwood." In Our Own House: Social Perspectives on Canadian Literature. Ed. Paul Cappon. Toronto: McClelland and Stewart, 1978, pp 73-81. The author finds that Atwood's "survival hypothesis" fails to account for certain literary facts and is contradicted by many others. The constituent elements in Atwood's theory appear to be a blend of Frye's criticism with the psychological categories of American sociologist Eric Berne. Steele believes that Survival reveals more about Atwood's poetic world-vision than about the structural principles of Canadian literature.

C46     Rosenberg, Jerome H. "Woman as Everyman in Atwood's 'Surfacing': Some Observations on the End of the Novel." Studies in Canadian Literature, 3, No. 1(Winter 1978), 127-32. An attempt to describe Atwood's literary and sociological intention in Surfacing and to point out what are seen as errors in Rosemary Sullivan's article, "Breaking the Circle," which appeared in The Malahat Review, No. 41 (see C1). Rosenberg concludes that Atwood is true to her character in the way a novelist must be, that Surfacing is a novel and not a sociological record, and that after we have experienced the novel we may view the world a little differently.

C47     Brown, Russell M. "In Search of Lost Causes: The Canadian Novelist as Mystery Writer." Mosaic, 11, No 3 (Spring 1978), 1-15. In this general article, Brown expounds his view that several cultural factors make the mystery novel a form that has attracted several contemporary Canadian authors. One example cited is Surfacing where the heroine is confronted by a mystery surrounding her father. She plays the detective but solves another mystery, one relating directly to herself. Brown compares and contrasts Atwood's heroine with Lew Archer, the hero of Ross MacDonald's more straightforward mystery novels.

C48     Campbell, Josie P. "The Woman As Hero in Margaret Atwood's 'Surfacing.'" Mosaic, 11, No. 3 (Spring 1978), 17-28. Campbell describes Surfacing as "a sort of psychological thriller, where the protagonist searches for or comes in conflict with that fragmented self which appears as a ghost," and makes a comparison with Hamlet. Its total structure and meaning are informed by the mythic heroic quest, and Campbell claims that it shows the influence of Joseph Campbell's works, The Hero with a Thousand Faces and Primitive Mythology. "Atwood's novel seems to me to be a 'meta-criticism' of Campbell's theories." The process of myth becomes a critical tool towards self-awareness -- "what stirs us and excites us about Atwood's novel is its human centrality, with its rare view of a woman's enormous capacity to confront heroically the ghosts of her psyche.

C49     Lyons, Bonnie. "'Neither Victims Nor Executioners' in Margaret Atwood's Fiction." World literature Written in English, 17, No. 1 (April 1978), 181-87. Camus' injunction is the underlying theme of both of The Edible Woman and Surfacing. The first is a comic novel in which the resolution (giving Peter the cake) is emblematic and funny, the second is a quest novel in which the resolution is a genuine psychological transformation. In Surfacing there is also a subterranean political aspect to the theme -- Canada itself must shake off the old roles too.

C50     MacLulich, T. D. "Atwood's Adult Fairy Tale: Levi-Strauss, Bettelheim, and The Edible Woman." Essays on Canadian Writing, No. 11 (Summer 1978),pp 111-29. An interesting article that uses the structural methods of the anthropologist Levi-Strauss, who analyses mythical narratives by breaking them down into simple units or motifs. MacLulich compares certain features in The Edible Woman to features in the popular children's story "The Gingerbread Man," and concludes that Atwood's novel could be understood as a parable illustrating the complex nature of society. MacLulich then introduces another children's story, "Little Red Riding Hood," and compares with it the sexuality and fear of being eaten prominent in The Edible Woman. As Bettelheim describes fairy tales as working in the minds of children, so Atwood "lets the symbols and incidents reverberate within the reader's mind."

C51     McCombs, Judith. "Atwood's Nature Concepts: An Overview." Waves, 7, No. 1 (Fall 1978), 68-77. A paper read at the Conference of Inter-American Women Writers, University of Ottawa, May 1978.

C52     Gibson, Graeme. "Travels of a Family Man." Chatelaine, March 1979, pp. 36, 38, 132-33, 135-37. An account of a journey with Margaret Atwood and their child Jess from Ontario to Australia via Paris.

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Part 2 Works on Margaret Atwood; Books, articles and sections of books, theses and dissertation, interviews, awards and honours; Awards and honours  

Horne, Alan J. (compiler)

C75     E. J. Pratt Medal (1961)

C76     President's Medal, University of Western Ontario, London, Ontario(1965).

C77     Governor-General's Award for Poetry for The Circle Game (1966).

C78     The Centennial Commission Poetry Competition, First Prize, for The Animals in That Country (1967).

C79     The Union Poetry Prize from Poetry (Chicago) for five poems from Procedures for Underground (1969).

C80     Writer-in-Residence, University of Toronto (1972-73).

C81     D. Litt., Trent University, Peterborough, Ontario (1973).

C82     The Bess Hopkins Prize from Poetry (Chicago)(1974).

C83     LL.D., Queen's University, Kingston, Ontario (1974).

C84     The City of Toronto Award, for Lady Oracle (1976).

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Part 2 Works on Margaret Atwood; Books, articles and sections of books, theses and dissertation, interviews, awards and honours; Books  

Horne, Alan J. (compiler)

C1      Sandler, Linda, ed. Margaret Atwood: A Symposium (The Malahat Review, No 41, Jan 1977.) Victoria: Univ. of Victoria, 1977. 228 pp. Contents: Linda Sandler, "Interview with Margaret Atwood," pp. 5-27; Rosemary Sullivan, "Breaking the Circle," pp. 30-41; Jane Rule, "Life, Liberty and the Pursuit of Normalcy -- The Novels of Margaret Atwood," pp 42-49; George Woodcock, "Transformation Mask for Margaret Atwood," pp. 52-56; Rick Salutin, "A Note on the Marxism of Atwood's 'Survival,'" pp 57-60; Al Purdy, "An Unburnished One-Tenth of One Per Cent of an Event," pp 61-64; Margaret Atwood, "An Album of Photographs," pp 65-88; Tom Marshall, "Atwood under and above Water," pp. 89-94; Robert Fulford, "The Images of Atwood," pp. 95-98; John Hofsess, "How To Be Your Own Best Survival," pp 102-06; Robin Skelton, "Timeless Constructions -- A Note on the Poetic Style of Margaret Atwood," pp. 107-20; Margaret Atwood, "Worksheets," pp. 121-33; Rowland Smith, "Margaret Atwood: The Stoic Comedian," pp.134-44; Margaret Atwood, "Threes," p 152; Eli Mandel, "Atwood Gothic," pp. 165-74; Margaret Atwood, "The Resplendant Quetzal," pp. 175-88; Jerome H. Rosenberg, "On Reading the Atwood Papers in the Thomas Fisher Library," pp. 191-94; Alan J Horne, "A Preliminary Checklist of Writings by and about Margaret Atwood," pp. 195-222.

At present, this is the only work devoted to Atwood (though three books are expected shortly, one by Jerome Rosenberg, one by Sherrill Grace, and one edited by Arnold and Cathy Davidson). This special issue of The Malahat Review is a collection of critical essays and appreciations. Sullivan's article attempts to show how Atwood, in her poetry and fiction, tries to disengage from history, from time, from the inheritance of human nature, to break out of the "circle game" of language and logic. Like the narrator in Surfacing, she comes to terms with the past and refuses to be a victim, but has not achieved spiritual regeneration. Rule describes The Edible Woman as a farce about the pursuit of normalcy; to the narrator in Surfacing, normality is terrifying and important; in Lady Oracle, the "pursuit of normalcy, down all the misleading byways of language, is controlled by Margaret Atwood [who]. . . has written a satire of the first order." Marshall points to Atwood's search for a personal and a national identity, in both the poetry and the fiction, as the essential feature of her work. Skelton suggests that Atwood, in many of her poems, uses a structure he calls "modular," and cites Pound, Stevens and Yeats as precedents. Smith examines Atwood's fiction as observations of the grotesqueries of middle Canadian life. Mandel sees Atwood's repetitive use of reduplicating images (mirrors, photographs) and her totemic animal imagery as owing much to the traditional patterns of Gothic horror. The "Album of Photographs" is a fascinating chronological record.

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Part 2 Works on Margaret Atwood; Books, articles and sections of books, theses and dissertation, interviews, awards and honours; Interviews  

Horne, Alan J. (compiler)

C59     Halpenny, Frances. "A Dialogue with Margaret Atwood." Toronto: Univ. of Toronto, Faculty of Library Science, 1972. A cassette audio-tape, forty-five minutes duration. Not published. A general interview before a class at the Faculty, October 18, 1972.

C60     Levenson, Christopher. "Interview with Margaret Atwood." Manna, No. 2 (1972), pp. 46-54. A rather defensive interview. Deals mostly with her poetry -- writers who influenced her, what poetry attempts to do, how she starts writing (from images rather than from ideas), how to read poetry aloud. Two interesting comments - poetry does not express emotion but evokes emotion from the reader; and she wrote The Journals of Susanna Moodie as separate poems.

C61     Gibson, Graeme. "Margaret Atwood." In Eleven Canadian Novelists. Toronto. House of Anansi, 1973, pp 1-31. One of a series of interviews first taped for broadcasting on the CBC. Matters discussed include the difference between writing poetry and fiction, what the novelist's role is; the Canadian tradition in writing, the problems of getting published and of being a woman writer; and answers to detailed questions about The Edible Woman and Surfacing.

C62     Miner, Valerie. "Atwood in Metamorphosis: An Authentic Canadian Fairy Tale." In Her Own Woman: Profiles of Ten Canadian Women. Ed. Myrna Kostash. Toronto: Macmillan, 1975, pp. 173-94 Rpt.(abridged) "The Many Facets of Margaret Atwood." In Chatelaine, June 1975, pp 32-33, 66-70. A useful interview in the biographical details it provides of Atwood's childhood and the influence of her parents. About her childhood she said "The only thing I regard as important was the moment I realized I wanted to be a writer. . . .I stopped writing from age eight to Grade 12. I consider it my sterile period." Describes the complexity of her personality and her reluctance to talk about some aspects of her personal life.

C63     Swan, Susan. "Margaret Atwood: The Woman as Poet." Communique, No. 8 (May 1975), pp. 8-11, 45-46. An interview which concentrates on the changing image that a female poet has with the public at large and with other writers. It contains some insights into Atwood's views about women's relationships with men. In French and English.

C64     Van Varsveld, Gail. "Talking with Atwood." Room of One's Own, 1, No. 2 (Summer 1975), 66-70. Deals with Atwood's attitude towards Feminism in literature. She does not feel she should be "propagandist" in her writings; and talks about the development of a separate female mythology, about magazines for women only, and about sexual discrimination in reviews.

C65     Kaminski, Margaret. "Interview with Margaret Atwood." Waves, 4, No. 1 (Autumn 1975), 8-13. A rather scrappy interview -- Atwood discusses The Edible Woman, and considers it not a feminist novel; the story is not autobiography but fiction. Then on to poetry, and the effect of reviews. Atwood feels that a lot of interest in You Are Happy, as in Power Politics, is mythological.

C66     The Education of Mike McManus: Margaret Atwood. Ontario Educational Communications Authority, 1976. Videotape, colour, thirty minutes duration. A television interview.

C67     Gibson, Mary Ellis "A Conversation with Margaret Atwood." Chicago Review, 27, No. 4 (Spring 1976), 105-13. Atwood describes what she attempted to do with Survival -- "it's not an academic book. . .it gives you a way into the literature" -- and how the literary and publishing scene in Canada has changed drastically over recent years.

C68     Slopen, Beverley. "Margaret Atwood." Publisher's Weekly, 23 Aug. 1976, pp 6-8. An interview given just after publication of Lady Oracle. Provides some interesting biographical details including those which relate to incidents in the novel.

C69     Slinger, Helen. "Interview with Margaret Atwood." Maclean's, 6 Sept 1976, pp 4-7. Fairly superficial, dealing with what it is like to have a baby and with Atwood's views on the awakened interest in Canadian literature, and on Canadian politics.

C70     Schiller, William. "Interview with Margaret Atwood." PWP, 2, No 3(Fall 1976), 2-15. An interesting interview which concentrates on Atwood's poetry. She talks of the poets who influenced her early work. She does not subscribe to theories --"Theories are useful to poets only insofar as they can make poetry out of them." Says that it is difficult to interview poets about their own work -- "I have some difficulty recalling what processes were going on." Feels that reviewers often tend to write about a book of poetry as though reviewing the book that came out before it.

C71     Struthers, J. R (Tim). "An Interview with Margaret Atwood." Essays on Canadian Writing, No. 6 (Spring 1977), pp. 18-27. A stimulating interview which touches on many topics, serious but not solemn. It deals both with the poetry and the fiction, with some emphasis on Lady Oracle. There is discussion about the Canadian tradition in fiction and poetry, and its influence on Atwood, comments on her response to good and bad reviews; and about women writers.

C72     Oates, Joyce Carol. "An Interview with Margaret Atwood." New York Times Book Review, 21 May 1978, pp 15, 43-45. Provides some biographical background information. Atwood explains her interest in the Gothic and in supernatural fantasy, and gives her views on writing -- "For me, every poem has a texture of sound which is at least as important as the argument'", "If you can think of writing as expressing 'itself' rather than 'the writer," this makes total sense" (that is, that the disciplines of prose and poetry evoke an almost totally different personality). Finally there is a discussion about writing not necessarily being autobiographical; and in answer to the question, Why do you write? she answers "Why doesn't everyone?"

C73     Struthers, J. R. (Tim) "What's Going to Happen Is in Stars." London Free Press, 30 Oct 1978, p 63. A profile on Atwood based on an interview published in part in Essays on Canadian Writing (see C71). Complete text and tapes in possession of the author.

C74     Oates, Joyce Carol. "A Conversation with Margaret Atwood." Ontario Review, No. 9 (Fall-Winter 1978-79), pp 5-18. An interview conducted by mail and telephone during February 1978, which deals mostly with her prose writings. Atwood also talks about her days at Harvard, her working habits, her drawing, and about the Canadian literary scene.

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Part 2 Works on Margaret Atwood; Books, articles and sections of books, theses and dissertation, interviews, awards and honours; Theses and dissertation  

Horne, Alan J. (compiler)

C53     Power, Linda LaPorte. "The Reality of Selfhood: A Study of Polarity in the Poetry and Fiction of Margaret Atwood." M.A. Thesis McGill 1973. Explores the relationship between the concept of polarity and the quest for the reality of selfhood in selected works by Atwood. It examines the structure, methodology, and the chronological development of the quest from its first appearance in her early poetry to its definitive form in Surfacing, while simultaneously analysing the patterns of polarity which inform the selected works.

C54     Robertson, Esther. "The Politics of Relationships: An Examination of Margaret Atwood's 'The Edible Woman,' 'Surfacing,' and 'Survival.'" M.A. Thesis British Columbia 1974. In her poetry and novels Margaret Atwood explores political realities in the relationships between men and women, and to a significant degree her insights into power-patterns are shaped by an awareness of the ways in which people are trained by their society from childhood to hold one set of attitudes towards women and another towards men. Her portraits of women and men, and of the relationships between them, demonstrate how this double standard has destructive consequences for both sexes. . . .An inconsistency is apparent [in Survival], for, although she touches upon sexism, she does not explore the ways in which sex-role conditioning encourages women to play victim roles. . . . "

C55     Regan, Nancy. "The Geography and History of the Mind. An Analysis of the Works of Margaret Atwood." M.A. Thesis Rhode Island 1975. Discusses the relation between environment and history in selected works by Atwood. A penetrating study.

C56     Scott, Andrew. "Margaret Atwood: A Critical Appreciation." M.A. Thesis New Brunswick 1975. A critical examination of Atwood's work -- poetry, fiction, and criticism -- published up to 1974. Evaluates significant themes and images, and examines her use of myth and her possible alignment with a group of Canadian mythopoeic poets. Concludes that "Although Atwood is a polemical critic and a readable novelist, she is primarily a poet."

C57     Gronvigh, Joanne. "Thematic Development in the Work of Margaret Atwood." M. A. Thesis Dalhousie 1977. Gronvigh traces the themes of survival and male-female relationships through Atwood's prose and poetry. A careful yet wide-ranging study.

C58     Packer, Miriam. "Beyond the Garrison: Approaching the Wilderness in Margaret Laurence, Alice Munro and Margaret Atwood." Diss. Montreal 1978. Analyzes the way in which Atwood's and Munro's protagonists transcend the so-called garrison mentality. Particular attention is given to linguistic analysis and comparison.

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Part 2 Works on Margaret Atwood; Selected book reviews; Dancing Girls  

Horne, Alan J. (compiler)

D62     Hofsess, John. "Atwoodian Presents. . .a Collection of Unhappy Middle-Class Women, None of Whom Look Like Monica Vitti." Books in Canada, Nov. 1977, pp. 27-28. Claims that the stories do not have a unifying theme, but do have a pervasive mood -- everyone, as if in an Antonioni movie, is waiting for the end. "Dancing Girls is more a record of where Atwood has been than it is a probe into where she is going."

D63     Hill, Douglas. "Violations." The Canadian Forum, Dec-Jan. 1977-78, p. 35. These stories express "the urban intellectual sensibility of the Canadian sixties with a comprehensiveness and finality that her novels don't attain (and don't attempt)." They are traditional in form and well-crafted, and are all about some sort of violation of the female. The male antagonists are almost stereotypes -- they are portrayed as insensitive, stupid, sexist -- perhaps this is a result of Atwood's feminism, but perhaps men are shallow, inadequate, insensitive? The stories make one uncertain on that point. The book "reflects -- and in turn illuminates -- the complex unity of ideas and attitude that Atwood has established through her previous work."

D64     Kertzer, Jon. Rev. of Dancing Girls. The Fiddlehead, No. 117(Spring 1978), pp 133-35. A favourable review which comments on the intensity with which Atwood's characters live within themselves. The stories focus on the startling and shocking, not on the ordinary. A sense of menace pervades the book, as the characters attempt in various ways to break out of themselves. "Polarities" is felt to be the key to the collection.

D65     Morley, Patricia. Rev of Dancing Girls. World Literature Written in English, 17, No. 1 (April 1978), 188-90. A very favourable review -- "among Atwood's best prose fiction to date." The prevailing mood is one of irony spiked with comedy, and of optimism. Most of the stories are set in urban Canada and deal with the relationships of men and women. The stories are "linked by a way of seeing which is both modern and female. . .this does not prevent the fiction from achieving the universality of artistic expression."

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Part 2 Works on Margaret Atwood; Selected book reviews; Lady Oracle  

Horne, Alan J. (compiler)

D48     Richler, Mordecai. Rev. of Lady Oracle. Book-of-the-Month Club News, Aug. 1976, pp. 1-3. "A fine novel inventive, surprisingly funny and a pleasure to read." The satire is effectively directed against the Toronto literary scene and nationalist aspirations, and the book is filled with memorable out-size characters. "A wonderfully unpretentious comic romp."

D49     Jackson, Marni. "Atwood As a Satirist Is Too Self-Assured." Toronto Star, 28 Aug. 1976, p H7. The atmosphere of Lady Oracle is too relaxed for the satire to bite, and the characters are not clearly enough defined, though "by any standards Lady Oracle is a good read."

D50     Owen, I. M. "Queen of the Maze." Books in Canada, Sept. 1976, pp. 3-5. "A richly textured novel . . .well peopled with characters and full of incident. It is rich, too, in recurrent symbols and allusive echoes." Owen however finds that Atwood seems unable to express emotion, which is a real weakness in novel writing. Despite this lack of warmth, Lady Oracle is a funny, entertaining book.

D51     Sandler, Linda. "Atwoodian Parody of the 1950's." Saturday Night, Sept. 1976, p 59. A feminist novel but unlike any other in that it is very funny and the heroine is a "common woman," without the desires and hang-ups of the neurotic elite. Lady Oracle is "an exquisite parody of an obsolete generation. Atwood is a brilliant comedian."

D52     Duffy, Dennis. "Read It for Its Gracefulness, for Its Good Story, for Its Help in Your Fantasy Life." The Globe and Mail, 4 Sept. 1976, p 32. Rpt. in Canadian Reader, 17, No. 9 (Sept 1976), 2-4. Lady Oracle gives a sharply delineated picture of Toronto, including a satirical portrayal of its literary scene. The heroine's defensive irony prevents events in the novel being taken too seriously and "adds spice to the minutest of observations." We should read it because it tells a good story and because of its "graceful, humourous exploration of cultural obsessions."

D53     Pollitt, Katha. Rev. of Lady Oracle. New York Times Book Review, 26 Sept. 1976, pp. 7-8. "Lady Oracle moves too slowly and is basically too serious to distract us from its clumsy contrivances." Its characters are stock figures and offer only the pat insights of a certain kind of popular feminist-oriented fiction. Pollitt sees Atwood as a dual literary personality, and wonders if the author of the sparse, tense poems and of Surfacing, with their mythic and metaphoric force, finds the comic novel genre uncongenial to her talents.

D54     Stimpson, Catharine R. "Don't Bother Me, I'm Dead." Ms., Oct. 1976, pp. 36, 40. A simplistic review -- "Atwood tells wonderful, inventive stories .... They begin in dramatic mystery and end with satisfactory flair."

D55     Struthers, J R. (Tim). "Tale of Multiple Identities Has More Than One Identity of Its Own." London Free Press, 2 Oct 1976, p. 28. Lady Oracle begins with an individual confusion in the continuity of identity, as the heroine is confused by her own multiple and contrived identities. Conventional themes of romance follow - descent as Joan fakes death and re-emerges as someone else; increasing alienation; and loneliness. Joan is herself a modern version of the conventional split heroine of nineteenth-century fiction. Most romances end happily with the real identity regained, but in this novel the heroine does not return to her old position -- she remains self-doubting and inept; she is a victim. The book is a parody of the romances which the heroine writes, but it also functions as a real modern-day romance; and again, as a self-parody. Lady Oracle can be explained in two ways -- either as an attempt by Atwood to play the clown, to escape from being taken too seriously, or, through its subtle treatment of the themes of fantasy and reality, as "a psychologically penetrating and thought-provoking work of fiction."

D56     Brophy, Brigid. "A Contrary Critic Takes a Crack at 'Lady Oracle.'" The Globe and Mail, 9 Oct. 1976, p 33. Seems hardly a review but rather a bitter attack from someone from outside with the intention of counteracting the favourable review printed earlier in The Globe and Mail (see D52). Brophy finds that the novel "has bouts of energy but no flair"; that its prose is "monotonous in rhythm, construction and pace"; and so on.

D57     Miller, Karl. "Orphans and Oracles." New York Review of Books, 28 Oct. 1976, pp. 30-32. A thoughtful review of Lady Oracle and Paula Fox's The Widow's Children. Lady Oracle could be described as a kind of Gothic novel -- it starts with a false drowning staged by the blackmailed heroine for herself. The heroine acts as narrator in the book and tells us her secrets and the story of her terrors, sensibility, and multiple identities. However the book on occasion seems to be enmeshed in its own contrivances. "Even as parody or burlesque, the tale of mystery and imagination dictated by Joan's predicament does not survive incorporation into a busy comedy of manners."

D58     Waller, G. F. "New Fiction: Myths and Passions, Rivers and Cities." Ontario Review, No 3 (Fall-Winter 1976-77), pp. 93-97. A review of four novels including Lady Oracle, in which the reviewer sees Atwood as lightly but provokingly reminding her reader of the need for integration, self-discovery, and wholeness.

D59     Rosengarten, Herbert. "Urbane Comedy." Canadian Literature, No. 72 (Spring 1977), pp. 84-87. Finds the novel to be a compound of domestic comedy, Jungian psychology, and social satire, stirred with wit and flavoured with the occult. In some ways, Lady Oracle is like Surfacing -- in both, the heroine seeks psychic integration and undergoes a ritual death and rebirth, and in both Atwood attacks the materialistic world of North America. The treatment of the subject matter is of course quite different. Lady Oracle contains many unusual and interesting characters, and many incidents.

D60     Thomas, Clara. "Feminist or Heroine?" Essays on Canadian Writing, No. 6 (Spring 1977), pp 28-31. Atwood handles the techniques of the novel with greater skill and sense of ease than in her two earlier novels. Lady Oracle "combines traditional Gothic elements of heroism with social comedy and social satire" and Thomas links Atwood's Joan Foster with Jane Austen's Catharine Morland. Joan is more of a heroine, i.e self-dramatizing and self-pitying, than a feminist, i.e., striving for true self-definition and personal growth. However despite her compulsive search for heroism, there is much hope -- "again and again she is deflated, but not crushed. . . .she is much stronger than the escape-artist she sees herself to be."

D61     Miller, Jane. "A Pack of Truths." Times Literary Supplement, 15 July 1977, p. 872. The incidents in the life of Joan Harcourt, the heroine, remind this reviewer of The Perils of Pauline, but this book is a parody just as the Gothic novels Joan writes are parodies. "What finally undermines this clever novel, confounding its confusions, reducing its imaginings, is that we believe the narrator and discount her lies."

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Part 2 Works on Margaret Atwood; Selected book reviews; Surfacing  

Horne, Alan J. (compiler)

D10     Newman, Christina. "In Search of a Native Tongue." Maclean's, Sept. 1972, p. 88. "Simply superb, the product of a talent that's maturing inexorably out of its own internal authority." The novel is important for many things, particularly in the way it describes what goes on in the mind of a woman trying to deal with the brutalities and pressures imposed by the politics of sex, and also in the way Atwood deals with the Canadian landscape.

D11     Dobbs, Kildare. "Canadian's Second Novel Even Better Than Her First." Toronto Star, 12 Sept 1972, p. 31."Surfacing presents a vision no less horrible and desolating [than The Edible Woman did], redeemed only by the perfect control and imaginative richness of the telling." A very favourable review which claims Atwood's second novel confirms her mastery of the form and displays her intelligence and wit in portraying a compelling personal vision.

D12     French, William. "Exhilarating: An All-Purpose Novel." The Globe and Mail, 16 Sept 1972, p. 30. The novel is about alienation, the generation gap, and the dehumanizing effect of modern urban society. It is "beautifully written, full of vivid imagery and marvellous descriptions. The internal landscape is described just as deftly as the external."

D13     MacSween, R. J. Rev. of Surfacing. The Antigonish Review, No. 11 (Autumn 1972), pp 113-14. Not a perceptive review. Finds Surfacing an intense book but one containing a host of second-rate opinions and no character.

D14     Clery, Val. "A Plea for the Victim." Books in Canada, Nov 1972, pp. 45-46. The author's command of style compels admiration, but the reviewer regards the theme as demonstrating the thesis of Survival. The supporting characters are caricatures and the heroine's identification of Americans as the "enemy" is ludicrous. Clery fears that the real victims may be those young Canadian writers who adopt Atwood's ideas and emulate her works.

D15     Davis, Francis. Rev. of Surfacing. The Dalhousie Review, 52(Winter 1972-73), 680-82. "Knitted together by a fine network of images which are used not only to tie ideas together but to develop character and to direct the plot." The book is not an exploration of Canadian identity, but the quest for the surfacing of an unlabelled and unlettered individual and the means towards this is to reflect the rational consciousness of which language is the outward sign. Thus, in moving towards a wordless naturalness, the novelist has a potentially impossible task as she cannot reject words entirely.

D16     Godfrey, Ellen. Rev. of Surfacing. The Canadian Forum, Jan. 1973, p. 34. Atwood's facility with language and style helps to make up for the boredom one might expect in her novel about boring people. In fact, the characters are extremely interesting, the heroine grows and changes through the novel and provides its depth, power, and passion.

D17     Grosskurth, Phyllis. "Victimization or Survival." Canadian Literature, No. 55 (Winter 1973), pp. 108-10. Describes Surfacing as about victimization, both external and self-imposed; but the reviewer appears to accept the narrator's search for her parents on its face value and not as a search for self-discovery.

D18     Davidson, Jane. "The Anguish of Identity." Financial Post, 24 Feb. 1973, p C5. A simplistic review which describes Surfacing as a woman's book.

D19     Delany, Paul. "Clearing a Canadian Space." New York Times Book Review, 4 March 1973, p. 5. A positive review. Compares Surfacing with Sylvia Plath's The Bell Jar, although "survival" for Atwood's narrator is a much more positive ending than the flat resignation of Plath's heroine. Atwood's narrator "strips off the encumbrances and falsities that society has imposed on her over the years [and] finds that experiences she had thought lost or discarded have only been submerged."

D20     Maddocks, Melvin. "Out of the Woods." Time, 19 March 1973, pp. 77-78 (pp 66, 70 in Canadian ed.). Surfacing, following on from The Edible Woman, chronicles the particular pains of being female in the 1970s. "Atwood, alternately satirical and lyrical, is a mistress of controlled hysteria." She may be overly critical of civilization, but she turns paranoia into art.

D21     Coleman, Margaret. Rev. of Surfacing. Descant, No 6 (Spring 1973), pp. 70-73. Provides a perceptive summary of the book. While the conclusion of the narrator -- "This above all, to refuse to be a victim" -- may be viewed as feminist, its real value is in its expression of an integrated humanity. The "poetic power and complex suggestiveness of Surfacing, with its delicate integration of time sequence and thematic motif, display the firm control and artistry of a fully developed and mature author."

D22     Laurence, Margaret. Rev. of Surfacing Quarry, 22 (Spring 1973), 62-64. A very favourable and perceptive review. Claims Surfacing is concerned with rites de passage, a journey towards self-knowledge, where the protagonist achieves another sort of knowledge, that of the ancient gods of forest and lake. The language is skillfully used, the imagery acts on several levels simultaneously. Contains many themes, some concerned with important contemporary issues which Atwood handles without descending into writing propaganda.

D23     Weeks, Edward. Rev of Surfacing. Atlantic, April 1973, p. 127. "A poet's novel . . .containing passages of fine writing and scenes of considerable power." The reviewer claims however that at the end the reader loses sympathy for and interest in the central character.

D24     Larkin, Joan. "Soul Survivor." Ms., May 1973, pp. 33-34. Surfacing should not be read as the story of the alienated young; rather it is about rebirth and return. The narrator "dives into human history, into her personal past, and into her own psyche...and emerges into the world with a new vision of herself." The reviewer claims the novel is "one of the best around" and singles out the final chapters for particular praise -- "It is in these that the novel, already a masterpiece of unified imagery and spare, crystal-clear language, becomes something of a miracle."

D25     Mahon, Derek. "Message in the Bloodstream." The Listener, 24 May 1973, p 696. A review of four novels including Surfacing, which is memorable for its poetic qualities. Atwood's perceptions of people and things are precise.

D26     "Ways of the Wild." Times Literary Supplement, 1 June 1973, p 604. A critical review which finds the novel pretentious, although it is "a real attempt to analyse a set of difficult relationships." However "the poetry-ridden prose is a shame, for we can hardly hear through it what Miss Atwood is genuinely trying to say."

D27     Harcourt, Joan. "Atwood Country." Queen's Quarterly, 80, No 2. (Summer 1973), 278-81. The concerns of Survival are ever present in Surfacing, but there is a lack of balance in the novel when the exploration of self-discovery and acceptance is abandoned in the middle of the book only to be resumed on the last page, where the narrator identifies with the animal-as-victim. The reviewer's reservations are partly that Atwood fails "to take the reader through all the thickets her heroine had to penetrate before the final breakthrough, in part to the explicit cross-reference to Survival."

D28     Bessai, Diane. "Surfaces." Lakehead University Review, 6, No 2(Fall-Winter 1973), 255-57. A fairly sympathetic review -- "this absorbing and tightly controlled novel." However Bessai finds the people in the novel and the landscape setting overly subjected to their thematic function.

D29     Fraser, D. M. "Margaret Atwood's 'Surfacing." 3 Cent Pulp, 2, No.7 (1 May 1974), 1-4. A violent review which criticizes every aspect of the novel -- "a work of consistent and self-congratulatory feeblemindedness"; "so relentlessly minor that you could play it at a funeral and everyone would fall asleep"; the characters are "a crew of one-dimensional cliches." But Fraser claims that the real outrage is that we are "so obsessed with our(nonexistent) Cultural Identity that we are willing to settle for, and embrace, any sort of pretentious mediocrity which offers itself for our consumption."

D30     Gait, George. "`Surfacing'" and the Critics." The Canadian Forum, May-June 1974, pp 12-14. First surveys the reviews of Surfacing, commenting on the superficiality of most but praising Margaret Laurence's review in Quarry (see D22). Gait claims that Surfacing is "likely the best piece of fiction produced by Atwood's generation in North America or anywhere." He then gives his own reading of the novel and finds the novelist is committed to full depiction of character; the themes of the book are those of any thoughtful life of the 1970s; the writing is simple but loaded. Finally the visionary experience of Atwood's heroine is authentic she rediscovers primeval loyalties and forgotten beliefs: "It is a rite of passage through territory largely uncharted" and terrifying.

D31     French, William. "Resurfacing. At Once the Worst and Best of Books." The Globe and Mail, 25 June 1974, p. 14. A comment on the extremely divergent views about Surfacing, particularly those expressed by Fraser (see D29) and Gait (see D30). French finds this controversy a healthy development.

D32     Gray, Francme du Plessix. "Nature as the Nunnery." New York Times Book Review, 17 July 1977, pp. 3, 20. "The relentless centrality of a woman's search for religious vision makes [Surfacing] a novel unique in our time. And her heroine's quest makes it, for me, one of the most important novels of the 20th century." A perceptive "feminist" review which finds Atwood stands in the tradition of women authors, from Emily Bronte to Doris Lessing, who have turned to nature not only in search of heightened perception but also as a refuge from the patriarchal order.

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Source: Part 2: Works on Margaret Atwood. Horne, Alan J. (compiler); Toronto, Ontario : ECW Press, 1979, pp. 22-46

Part 2 Works on Margaret Atwood; Selected book reviews; Survival: A Thematic Guide to Canadian Literature  

Horne, Alan J. (compiler)

D33     Sutherland, Fraser. "Fast and Loose." Books in Canada, Oct 1972, pp. 10-11. Finds that her conclusions are consistently well-founded, and her analysis is challenging, witty, and stimulating. As long as her examples support the thesis, Sutherland considers selectivity acceptable. The style and the form are however "slightly better than slipshod."

D34     Grosskurth, Phyllis. "Truth -- and a Major Talent." The Globe and Mail, 28 Oct 1972, p 33. A rave review -- "the most important book that has come out of this country. . .she has analysed Canadian literature so perceptively that it sounds interesting enough to read." (!)

D35     Fulford, Robert "A Clever and Effective Analysis of the Literature of Canada." Toronto Star, 4 Nov 1972, p. 79. Claims that publication of Survival was "A significant literary event." Atwood has developed several clearly stated theories and then found examples in the literature to support them. This leads to a somewhat distorted view of Canadian writing, but Atwood is not trying to pick out the best; she is trying to find out what the literature says.

D36     Pickersgill, Alan. "Survival for Whom?" Alive, 3, No. 6 (1973), 12-14. A political review from the Left. Complains that Atwood's analysis of Canadian literature does not point out that Canadian society is a class organized society and that most Canadian authors come from the bourgeois class. These authors' works reflect the attitudes of their own class, while the working class is victimized much more than the bourgeois. Pickersgill accuses Atwood both of failing to show how Canadian literature has served the interests of U.S. imperialism, and also of rewriting history.

D37     Wolfe, Morris. "Atwood's Guide to the Geography of Survival." Saturday Night, Jan 1973, pp. 32-33. Atwood builds on the work of D. G. Jones and Northrop Frye and provides an outline to help readers distinguish Canadian literature from other literature. Survival has some faults -- it shows signs of being quickly written and produced, the "Basic Victim Positions" are used to excess, "survival" is a dominant theme in all contemporary literature -- but the book does "put together a number of more or less familiar ideas in such a fresh and interesting way that they have a profoundly liberating effect on the reader."

D38     Ross, Malcolm. Rev. of Survival. The Dalhousie Review, 53 (Spring 1973), 159-60. Comments on the selectivity of Atwood's examples and on some misunderstandings on her part. The book has penetrating things to say of writers susceptible to Atwood's approach but the restrictions imposed by her thesis leave a lot of Canadian literature outside.

D39     Geddes, Gary. Rev. of Survival. The Malahat Review, No. 26 (April 1973), pp. 233-34. Survival is seen as "a fascinating set of lecture-notes, stimulating, tentative, punchy and wrong-headed." It ignores form and selects to suit the theme. Its value is as a piece of sociology and propaganda.

D40     Gutteridge, Don. Rev. of Survival. The Canadian Forum, May 1973, pp. 39-41. Gutteridge finds the victim schema wrong and wrong-headed, and its application produces distortions when applied to individual works.

D41     Sonthoff, Helen. "The Long Will To Be in Canada." Quarry, 22, No. 3 (Summer 1973), 75-77. A personal response from someone born in the U. S.A who does not understand why only to survive is the expressed aim; and disagrees with Atwood's opinion that "Canadians show a marked preference for the negative."

D42     Watt, Frank. Rev. of Survival. University of Toronto Quarterly, 42 (Summer 1973), 440-41. Finds Atwood's critical theory "belligerently or defensively political." The main arguments of Survival which show a powerful and personal reading of Canadian literature, may be accepted or rejected, but they will nevertheless have affected our views of Canadian literature.

D43     Jonas, George "Maggie Is a Thing Apart" Maclean's, Aug. 1973, pp.11, 14. Discusses why Survival aroused such interest on its publication. Those for whom "Canadian" is a value judgement greeted the book with joy; others found merit in its thesis; those who are simply "out of it" hated it, and so did those who found its arguments unconvincing.

D44     Grosskurth, Phyllis. "Survival Kit." New Statesman, 24 Aug 1973, pp. 254-55. In a review intended for British readers, Grosskurth sets the publication of Survival in its historical and literary context. The uniqueness of the book lies in its synthesis of the disparate patterns of Canadian literature, and in its assumption that Canadian literature was worth writing about. It has been criticized because victimization is only one theme of Canadian literature, and also a significant theme of the literature of other countries; and because Atwood has selected and omitted to suit her thesis.

D45     Harrison, Richard T. "The Literary Geography of Canada." Lakehead University Review, 6, No 2 (FallWinter 1973), 274-76. The reviewer commends the work as "a major event in Canadian publishing." He recognizes that like any book committed to a thesis, Survival is purposely selective in the writers and works it examines. There is, for example, an almost complete neglect of nineteenth-century writers. Atwood is of course aware of the limitations of her work, and says that it is not meant to be "a balanced overview." Her non-scholarly style and explanations will encourage non-academic Canadians to read their literature.

D46     Swayze, Walter E. "Survey and Survival." Journal of Canadian Fiction, 3, No. 1 (Winter 1974), 112-13. Reminds the reviewer of T.S. Eliot's early critical essays. Though it is confident, dogmatic, and partisan, "Survival provides an illuminating approach to the kinds of poetry and fiction that Margaret Atwood and many of her contemporaries are writing and are most interested in reading."

D47     Driver, Christopher. "Hastings Owl." The Listener, 14 March 1974, pp. 342-43. A review of Lovat Dickson's Wilderness Man and of Survival which is described as "a brisk and brilliant exploration of Canadian literature."

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Source: Part 2: Works on Margaret Atwood. Horne, Alan J. (compiler); Toronto, Ontario : ECW Press, 1979, pp. 22-46

Part 2 Works on Margaret Atwood; Selected book reviews; The Edible Woman  

Horne, Alan J. (compiler)

D1      Woodcock, George. "Are We All Emotional Cannibals?" Toronto Star, 13 Sept. 1969, p. 13. Atwood expresses the view that humans are predatory -- "The Edible Woman is really a novel about emotional cannibalism." The reviewer finds the novel articulate and sophisticated, "pungently expressive of a tantalizingly defensive individuality." The relationship between Atwood's poetry and her fiction is very close.

D2      "Self-Deprecating." Times Literary Supplement, 2 Oct. 1969, p. 1122. A short note which finds Atwood writes sensitively and with seriousness about her heroine but finds also that the self-deprecating humour and the caricature-like other characters distract.

D3      Montagnes, Anne. "Two Novels That Unveil, Maybe, A Coming Phenomenon, The Species Torontoensis." Saturday Night, Nov 1969, pp. 54, 56, 58. A superficial, throw-away type of review, which deals also with James Bacque's novel, The Lonley Ones. Finds that The Edible Woman is well-crafted, full of startling images, but is superficial and unimpassioned.

D4      Skelton, Robin. Rev of The Edible Woman. The Malahat Review, No 13(Jan. 1970), pp. 108-09. The reviewer complains of the lack of characterization, but this makes the characters in the novel ridiculous and despicable which may have been Atwood's intention. The humour "does have a grotesque and Swiftian quality. . .this author has great potentials as a satirist."

D5      Stedmond, John. Rev. of The Edible Woman. The Canadian Forum, Feb. 1970, p. 267. "The characters do not quite jell and the narrative techniques creak a little." The novel's approach to the woman's situation is fresh but the potential is unrealized.

D6      Marshall, Tom. Rev. of The Edible Woman. Quarry, 19, No. 3 (Spring 1970), 55-56. A short note only, which finds the satire delightfully funny, the plot carefully structured, and the characterization shrewd. "A beautifully written novel."

D7      Roper, Gordon. Rev of The Edible Woman. University of Toronto Quarterly, 39 (July 1970), 341. A comment only which notes its freshness of language, its grace and wit -- "a refreshingly human comedy."

D8      Bell, Millicent. "The Girl on the Wedding Cake." New York Times Book Review, 18 Oct 1970, p. 51. "A work of feminist black humor, in which [Atwood] seems to say that a woman is herself likely to become another 'edible' product, marketed for the male appetite." A very favourable review which comments on Atwood's individualistic and sinister imagination, and notes that "to our considerable diversion, her comic distortion veers at times into surreal meaningfulness."

D9      Jonas, George. "A Choice of Predators." The Tamarack Review, No. 54 (Winter 1970), pp. 75-77. The emotional and physical are mingled sardonically but realistically. Atwood's use of symbols and imagery is self-assured. The characters are completely self-centered -- the author's view of people might be called jaundiced or uncompromising. The novel "holds out the hope that life may at least offer a choice of predators."

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Source: Part 2: Works on Margaret Lawrence. Warwick, Susan J. (compiler); Toronto, Ontario : ECW Press, 1979, pp. 57-101

Part 2 Works on Margaret Laurence; Books, articles and sections of books, theses and dissertations, interviews, awards and honours; Articles and sections of books  

Warwick, Susan J. (compiler)

C4        Krelsel, Henry. "The African Stories of Margaret Laurence." The Canadian Forum, April 1961, pp. 8-10 ML. A thematic analysis of Laurence's African stories and This Side Jordan. Discusses the related themes of independence, freedom, and dignity as they apply to Laurence's characters and plots. "Ultimately what is impressive about her writing is her affirmation, without any sentimentality, of the essential dignity of the human personality." A brief article which successfully summarizes Laurence's thematic concerns in her African writings.

C5        Davies, Robertson. "Self-Imprisoned to Keep the World at Bay." New York Times Book Review, 14 June 1964, pp 4-5, 33 ML. A brief discussion of The Tomorrow-Tamer and The Stone Angel which stresses Laurence's "freshness of approach" and her skilled use of language. Draws attention to the importance of form in Laurence's fiction.

C6        Robertson, George. "An Artist's Progress." Canadian Literature, No. 21 (Summer 1964), pp 53-55. ML. Although written "with more professional care," The Stone Angel is a less successful novel than This Side Jordan, essentially because on reading it "one is aware of the stylist without being sufficiently unaware of the style." In particular, Laurence's handling of the flashback is too mechanical, too neat and predictable. Also briefly discusses The Tomorrow-Tamer.

C7        Pickrel, Paul. "Triple Debut." Harper's, July 1964, 100-02. ML. Writing just after the simultaneous U. S. publication of The Tomorrow-Tamer, The Prophet's Camel Bell, and The Stone Angel Pickrel presents a comparative treatment of the three works. The Stone Angel is the only book "in which the imaginative element outweighs the reportorial," yet all three "bear the mark of an imaginative tact that is certainly genuine."

C8        Callaghan, Barry. "The Writings of Margaret Laurence." The Tamarack Rewew, No. 36 (Summer 1965), pp. 45-51 ML. The difference between The Tomorrow-Tamer and The Stone Angel on the one hand, and This Side Jordan on the other "is a vast one -- the difference between imaginative discovery and plodding over all too recognizable territory." This Side Jordan is "a device for a neat liberal message and is a mechanical rather than imaginative production." In The Tomorrow-Tamer Laurence has "by-passed rhetoric and learned compression." The minor faults of The Stone Angel, including the mechanical flashbacks in the middle of the novel and the shadowiness of Dora and Marvin, "fade before Margaret Laurence's discovery of how it is to be both aged and vitally Alive." A coherent commentary on Laurence's early development.

C9        "Laurence of Manitoba." Canadian Author and Bookman, 42 (Winter 1966), 4-7. Provides biographical information and brief comments by Laurence on the art of writing.

C10       Read, S. E. "The Maze of Life: The Work of Margaret Laurence." Canadian Literature, No 27 (Winter 1966), pp. 5-14 Rpt in Writer of the Prairies. Ed. Donald G. Stephens. Vancouver: Univ. of British Columbia Press, 1973, pp 132-41. ML. An important early assessment. Biographical information relating to the writing of The Prophet's Camel Bell and A Tree for Poverty is provided. Discusses the recurrent themes of Laurence's work, focussing primarily on "the ever-present call for understanding and tolerance between individuals." The action of This Side Jordan, though skillfully developed, seems at times slightly contrived and artificial, and it is only with The Stone Angel that Laurence reaches full maturity as an artist. In The Stone Angel "the autobiographical technique may produce some flaws and certainly demands suspension of disbelief, but it is handled with skill and daring and produces a fast moving story and a strong feeling of tension." Laurence's excellence lies not only in her skillful handling of tense dramatic situations and her creation of memorable characters, but also in her "sure and controlled" command of language. Particular attention is paid to Laurence's descriptive ability with respect to place and her attentiveness to the "nuances of idiom, the tonal variations that exist between young and old, native and non-native, and the vocabulary differences between educated and uneducated."

Cll      Story, Norah. The Oxford Companion to Canadian History and Literature. Toronto: Oxford Univ. Press, 1967, p 438. Brief note outlining Laurence's work up to 1966.

C12       Thomas, Clara. "Happily Ever After: Canadian Women in Fiction and Fact." Canadian Literature, No 34 (Autumn 1967), pp 43-53. Briefly discusses Laurence's The Stone Angel in connection with the work of Susanna Moodie, Sara Jeanette Duncan, Catharine Parr Traill, and Frederick Philip Grove. "Corroded and distorted by her environment and the self-willed tragedies of her life, Hagar is never quite dominated." Sees Hagar as "the culmination of all the Ruths in our fiction."

C13       New, William H "Introduction." In The Stone Angel. New Canadian Library, No 59 Toronto: McClelland and Stewart, 1968, pp iii-x. Rpt. in Articulating West: Essays on Purpose and Form in Modern Canadian Literature. Toronto: new press, 1972, pp 207-15. ML. "In exploring the memories of an old woman during her last days, the novel continually juxtaposes desire and reality, expectation and event, what one wants and what one gets." Suggests that the interweaving of past and present "contributes to the irony of the characterization" and of the book as a whole. Discusses the novel's biblical analogues and Laurence's concept of time. In leaving the final sentence of the novel unfinished Laurence "closes the book in ambivalence, it is possible that time stops, but possible also that it goes on, and is merely measured in a different way." Sees Hagar's assertion and recognition of self as an essentially tragic process. "It is tragic in Frye's sense -- an example of locating 'the centre of tragedy. . .in the hero's isolation, not in a villain's betrayal, even when the villain is as he often is, a part of the hero himself.' "

C14       New, William H. "The Novel in English." In The Sixties: Writers and Writing of the Decade. Ed. George Woodcock. Vancouver: Univ. of British Columbia Press, 1969, pp. 121-25. In this summary of the Canadian novel in the 1960s, New links Laurence with other writers, including George Ryga and Henry Kreisel, who "are concerned not just with broadly political relationships, but with the individual reasons for them."

C15       Asante, Nadine. "Margaret (Rachel, Rachel) Laurence." The Montrealer, June 1969, pp 30-33. A biographical sketch interspersed with comments by Laurence on her work and that of other Canadian writers.

C16       Gotlieb, Phyllis. "On Margaret Laurence." The Tamarack Review, No. 52 (Summer 1969), pp. 76-80 ML. A rather disjointed article in which it is suggested that Laurence "explored more fearlessly when she set us in the market-places and fetish huts of Ghana and Nigeria" than in the worlds of The Stone Angel and The Fire-Dwellers. The material of the latter is "easily available and explored and mapped without much artistic risk; it is limited and cannot be expanded." Although Hagar, Rachel, and Stacey are commended as "genuine creations," Gotlieb believes that Laurence must move beyond "what everyone knows but does not say" to "what one sees that nobody else does."

C17       Jones, D. G Butterfly on Rock: A Study of Themes and Images in Canadian Literature. Toronto: Univ. of Toronto Press, 1970, pp. 43-44, 54-55, 163-65. Argues that Laurence, like many other Canadian novelists, is concerned with the opposition between "the garrison and the wilderness." In The Stone Angel, Hagar "rejects the land and the spontaneous joy and creative fulfillment which she might have known in her own life," and "embraces instead the barren security and respectability of the garrison culture." The stone angel itself is "the petrified symbol" of this culture. Only towards the end of the novel does Hagar begin to rediscover "her identification with the land and the minute, teeming life of nature." Rachel, in A Jest of God, "reflects a new, more open, more adventurous mood" and her experience gives her "the courage to take life as it comes without exhausting herself in a continual attempt to anticipate its dangers." The wilderness which Rachel finally decides to face and enter is "the wilderness of everyday life, the town and the country created by man as much as by God," where "one may discover a more vital community, a larger and more inclusive view."

C18       McCourt, Edward A. The Canadian West in Fiction. Rev. ed. Toronto: Ryerson, 1970, pp 108-18. A discussion of the Manawaka background of Laurence's work, with particular reference to The Stone Angel and A Jest of God. "As a physical entity Manawaka is undistinguished, unobtrusive. . . .It exists primarily as an influence on the human spirit, it is a shaping force which either emancipates or stifles, gives peace to or makes mad its creatures." While Hagar is fundamentally "the product of a pioneer community," Rachel "is shaped by a small town environment which might be that of almost any small town on the continent." McCourt states that in A Jest of God the struggle of man against his environment is no longer of much significance. Nonetheless, environmental factors do shape the lives of Laurence's characters, but they are no longer those which can be directly related to the physical world of the prairies. Briefly discusses Laurence's language and her sense of irony.

C19       Thomas, Clara. "Introduction." In The Tomorrow-Tamer. New Canadian Library, No. 7. Toronto: McClelland and Stewart, 1970, pp. xi-xvii. Discusses the techniques of the short story writer, suggesting that Laurence "writes towards a fusion of methods and emphasis that produces, at its most successful, a story that brings a brief, brilliant sun-shower of illumination." Sees the stories as "miniature representations" which prod the reader "to flesh out the larger world" to which the words are "symbols and pointers." Suggests that at the centre of Laurence's technique in these stories, and later in her novels, is "her narrator's self-examination, a charting of consciousness and of growth." Praises Laurence's evocation of the colour, the warmth, and the people of Ghana. "Her instincts and her temperament impel her to write so that, in these stories, we may better understand Ghanaians, each other -- and ourselves; her talents and the hard-working craftsmanship of the professional writer are the tools of her success."

C20       Kreisel, Henry. "A Familiar Landscape." The Tamarack Review, No. 55 (Spring 1970), pp 91-92, 94. ML. An analysis of Laurence's short stories, emphasizing the elegiac tone in both the African and Canadian works. Both The Tomorrow-Tamer and A Bird in the House "celebrate worlds that are in the process of passing or have already passed," yet Laurence successfully avoids any trace of sentimental nostalgia. Laurence stands "very clearly in the tradition of the classic story tellers" and while she "is not very adventurous in exploring the possibilities of the short story form," her work is "among the most distinguished now produced in Canada .... Her stories usually move to a decisive climactic moment. The prose is clear and simple and beautifully shaped, the characters are precisely observed and sharply portrayed."

C21      French, William "Margaret Laurence Her Books Rear Up and Demand to Be Written." The Globe Magazine, 25 April 1970, pp. 4-6, 9. A biographical piece which includes some of Laurence's responses to questions asked during a lecture given by her at Toronto City Hall.

C22      Woodcock, George. "Jungle and Prairie." Canadian Literature, No 45 (Summer 1970), pp. 82-84. ML. In A Bird in the House the reader "enters a world far tighter, far more self-consistent, far more directly apprehended than that of The Tomorrow-Tamer." Although the two collections are similar in many ways, there is also a remarkable progression evident in the later work. "The main flaw in The Tomorrow-Tamer is the obviously didactic intent, for in almost every story there is a moral which the author has not sufficiently absorbed into the fabric of the action." Nonetheless, both volumes clearly "establish Laurence as one of the three best short story writers at work in Canada today."

C23      Swayze, Walter. "The Odyssey of Margaret Laurence." The English Quarterly, 3, No. 3 (Fall 1970), 7-17. A detailed study of Laurence's work founded upon the thesis that Homer's Odyssey "provides a meaningful metaphor for the essence of her works and her fictional world." Odysseus' victories are limited, and the mood of the Odyssey is "one of limited optimism." "Perhaps the essential feature of the Odysseus story is that if, in spite of twenty years of warfare, exile, desolation, seduction, and suffering. Odysseus, with all his limitations, but his awareness and responsibility, survives, then man may survive, and so may the society that he is striving to heal and restore." Swayze analyses all of Laurence's work to demonstrate the manner in which her characters achieve their limited victories in a world that "is as full of monsters and villains as the world of Homer." Like Odysseus, Laurence's characters endure and survive, and her fictional world, like Homer's, is one in which "it is difficult to separate survival from social responsibility."

C24      Wigmore, Donnalu. "Margaret Laurence: The Woman behind the Writing." Chatelaine, Feb. 1971, pp, 28-29,52, 54. Includes biographical information and comments by Laurence on her life and work.

C25      Thomas, Clara. "Proud Lineage: Willa Cather and Margaret Laurence." Canadian Review of American Studies, 2, No. 1 (Spring 1971), 3-12. In this comparative study of the work of Willa Cather and Margaret Laurence, Thomas suggests that "the idea of the west and its settling has been pervasive and very powerful in the minds and the imaginations of many Canadians" for many generations. "There is no possible nationalistic separation between the prairie novels of Willa Cather and the experiences of Canadians" and Cather's heroines, joined by Laurence's, "form a lineage and cycle of their own in North American literature." Alexandra Bergson, in O Pioneers, is seen as a forebear of Hagar Shipley, and in Stacey MacAindra one witnesses a pioneering spirit not unlike that of Antonia Shimerda in Cather's My Antonia. Having traced the lineage from Cather through Laurence, Thomas then analyses the bonds between the two novelists, as well as their differences. Particular attention is paid to certain central images which appear in the works of both writers, "the cave, the garden, the wilderness, the matriarch."

C26      Cameron, David. "The Mysterious Literary Fondness for Darkest Africa." Maclean's, Aug 1971, p. 64. A survey of works with an African setting by Laurence, Audrey Thomas, David Knight, and Dave Godfrey.

C27      Bowering, George. "That Fool of a Fear. Notes on A Jest of God." Canadian Literature, No. 50 (Autumn 1971), pp 41-56. Rpt. in Writers of the Prairies. Ed. Donald G. Stephens. Vancouver: Univ. of British Columbia Press, 1973, pp. 149-64. ML. An important analysis of form and language in A Jest of God." In A Jest of God, seen as formally failed by some nineteenth-century reviewers, Margaret Laurence assays a responsive vocal style, the voice in the ear pursuing Rachel's mind even into the deep places where the most superior fiction comes from." Laurence gives the reader "the enjoyment of hearing the mind moving, rather than being on the receiving end of recollection, arrangement, description and expression." Argues that Laurence "is not talking about life: she is trying to re-enact the responses to it." This fact requires that the reader play close attention to the novel's language for "the reality of character is found in how the person talks more than in what he says." Similarly, the reality of Manawaka is revealed through Laurence's language: "One gets the sense of place correctly when one gets the language right .... The subject of the book is Rachel's mind, and the realism consists in our separation from it by virtue of its unsureness and confusions." Yet it is this separation which "brings us so close" for we are obliged "to evaluate Rachel's thoughts, not simply to receive them toward a narrative completion." Laurence does not "introduce the product of Rachel's mind. She shows us the motion of the machinery."

C28      McLay, C. M. "Everyman Is an Island: Isolation in A Jest of God." Canadian Literature, No 50 (Autumn 1971), pp. 57-68. ML. It is Laurence's ability "to recreate in fiction the sense of isolation, where human beings reach out to each other and reach out futilely, which makes A Jest of God and the earlier The Stone Angel notable achievements in Canadian and world literature." Traces the theme of isolation in A Jest of God, arguing that "while human relationships are an attempt to counter isolation, death is a recognition of it." Analyzes the juxtaposition of love and death in Rachel's life and mind, and the differing attitudes towards both which Rachel holds throughout the novel. "A Jest of God represents Rachel's descent into the world of nightmare, the 'Everlasting No,' and suggests too a return to life, a modified "Everlasting Yea.'" In the end, Rachel faces her own isolation and achieves wisdom through folly, a new wisdom which "brings compassion, not only for men, isolated and alone, but for God himself, isolated from man."

C29      Atwood, Margaret. Survival. A Thematic Guide to Canadian Literature. Toronto: House of Anansi, 1972, pp. 98-99, 139-40, 205-06, 209-10. In this thematic treatment of Canadian literature, Laurence's work is examined from a variety of perspectives. Brief mention is made of Laurence's treatment of Indians in A Bird in the House and The Fire-Dwellers. In the section dealing with "the literary family," Atwood states that in A Bird in the House "the three generation pattern is displayed in virtually its pure form," and suggests that in Laurence's work, as in that of other Canadian writers, both the negative and the positive qualities of the three generations are revealed. More detailed is the discussion of Laurence's female protagonists. Hagar is "the most extended portrait of the frozen old woman" in Canadian literature, and she "takes the Canadian old-woman figure about as far towards being human as can be expected." Rachel and Stacey are examined within the context of the "Rapunzel Syndrome" in Canadian literature, as women "who would rather be Dianas or Venuses, but find themselves trapped against their will inside Hecates." "In Canada, Rapunzel and the tower are the same," for "these heroines have internalized the values of their culture to such an extent that they have become their own prisons."

C30      Thomas, Clara. Our Nature, Our Voices: A Guidebook to English-Canadian Literature. Vol. I. Toronto: new press, 1972, pp 156-61. Includes a short biographical sketch and brief commentaries on Laurence's writings. In the writing of The Tomorrow-Tamer stories and This Side Jordan, "Laurence had found the tone and the stance of the ironist best suited for dealing with the African dilemma ...." When she turned to write of Canadian characters and situations, Laurence found the variations of the ironic tone again fitting for the places and times she interpreted." While Laurence's characters are "Canadian" inasmuch as they reflect "our experiences in this land for four generations," national boundaries do not contain her work. "The vitality and universality of her characters reach far beyond anything specifically Canadian in their concerns."

C31      Thomas, Clara. "The Short Stories of Margaret Laurence." World Literature Written in English, 2, No 1 (1972), 25-33. The Tomorrow-Tamer stories "are all built from the point of view of the ironist," who sees "the immense vitality and the enormous contradictions of joy and pain, of hopes and achievements, amongst the people of an emergent nation." The stories possess "qualities of disengagement and detachment which keep them on a middle range of irony, muting their satire on the one end of the scale and their tragedy on the other." In A Bird in the House we have "the skeleton of a life-story and yet by no means simply a life-story." As in the African stories, Laurence, through Vanessa, illuminates "the experiences of an outsider," for she, like every child, "is a stranger to the world she observes around her." Comments on the successes and failures of "the technique of double exposure" in A Bird in the House. Suggests that what becomes somewhat oppressive in these collected stories "are the restrictions of their circumference and the sameness of their final effects." Nonetheless, these stories "make a unique contribution to our literature in a particular Canadian time and place, under the deadening blows of the depression and drought of the '30s."

C32      Forman, Denyse, and Uma Parameswaran. "Echoes and Refrains in the Canadian Novels of Margaret Laurence." Centennial Review, 16, No 3 (Summer 1972), 233-53. ML. An excellent discussion of the "echoes and refrains" running through The Stone Angel, A Jest of God, and The Fire-Dwellers. All three novels share several characters, themes and techniques. One of the most prominent of the shared themes is that of motherhood. Stylistically and structurally the three novels are similar. All are essentially first person, present tense narratives, all are "bounded by a setting or a rhyme that provides not only a structural frame but also contains the key to the theme," all explore the area of interior monologue, and all have "sacramental overtones in their key passages." The latter sections of the article deal, in detail, with the movement of the novels' central characters towards self-revelation. Attention here is concentrated on Hagar and Rachel and the way in which their stories frequently parallel one another. Forman and Parameswaran argue that, despite the use of the first person narrative voice, "objectivity, distance and irony do form a part of all three novels," and that the religious backgrounds of Laurence's characters serve "to give them a much needed sense of perspective."

C33      Thomas, Clara "The Novels of Margaret Laurence." Studies in the Novel, 4, No. 2 (Summer 1972), 154-64. ML. A detailed study of Laurence's handling of voice, time, and the journey motif in The Stone Angel, A Jest of God, and The Fire-Dwellers. As each of Laurence's female protagonists "tells her own story," "each novel's success depends on the immediate establishment of the main character's voice and nature." Discusses the opening pages of each novel to demonstrate the manner in which this is accomplished. Each of Laurence's women "takes a journey that is at once physical and temporal and timeless and spiritual." In The Stone Angel "the two journeys move in parallel lines." The events of the present are "counterpointed by a design of reconstructed memories." Rachel's spiritual journey in A Jest of God is "more complicated and daring, in terms of the novelist's techniques," than Hagar's, for past and present are "woven together instead of being completely separated and counter-pointed." Only after Rachel has completed her interior journey is she able to make the decision to leave Manawaka, to embark on her temporal journey. "The simple time continuum of The Fire-Dwellers gives a rational, logical basis to the novel", however "Its important movement is an expansion from this timeline," "a halting, opening and shutting, a broadening and then a narrowing.... The final point of poise in the novel is not Stacey's coming to a new revelation," but her self-acceptance achieved on the basis of the knowledge gained through her inner and outer journeys.

C34      Djwa, Sandra "False Gods and the True Covenant: Thematic Continuity between Margaret Laurence and Sinclair Ross." Journal of Canadian Fiction, 1, No. 4 (Fall 1972), 43-50. ML. Laurence and Ross "share a central vision-a sense of the ironic discrepancy between the spirit and the letter of the religious dispensation, a discrepancy which is often explored through an essentially psychological analysis of character (particularly through the interior monologue) with reference to Biblical myth." Notes that many of the characters of Ross and Laurence are given explicitly Biblical names, and that for both writers Biblical allusion seems "to provide a resonating mythic framework," a framework which is implicit in Ross, but explicit in Laurence. An essential difference in their use of Biblical myth rests in the fact that Ross does not relate individual characters to their Biblical prototypes on the mythic level, while Laurence "consistently invokes Biblical myth as archetypes of psychological man" and most often relates her characters mythically. "Laurence's mode of perception, like that of Ross, is essentially puritan and verges on the satiric," and this perspective often gives form to the work itself. Both writers reveal "an ironic awareness of the discrepancy between performance and profession" and both write "from a two-tiered world, ostensibly with God above and man below." In conclusion, Ross and Laurence are seen as humanists, "concerned with the process through which human potential becomes actualized," working out "contemporary problems in terms of their own ancestral roots of received religion."

C35      Bevan, Allan. "Introduction." In The Fire-Dwellers New Canadian Library, No. 87 Toronto: McClelland and Stewart, 1973, pp vii-xiv. ML. Links Manawaka, the focus of Laurence's fictional world, with Faulkner's Yoknapatawpha county, stating that her Manawaka families "have roots and branches that cut across from novel to novel ....Manawaka is more than a place; it represents its creator's point of reference. It is a world from which each of the three protagonists tries to escape, but which is always there." Discusses the variety of narrative techniques employed in the novel, paying particular attention to Stacey's internal dialogues "Stacey's internal dialogues with herself, with others and with God are often funny, frequently pathetic, sometimes almost tragic, nearly always honest. It is through her private conversations that we come to know her." Briefly analyzes the firehell symbolic pattern of the novel. "The hell in which Stacey, Mac, Tess, Buckle, and even Luke dwell is flabby, directionless, solitary, and faithless." Suggests that by the end of the novel, which ends on a note of low-keyed optimism, Stacey has learned that "her trap is not the four walls of her home but the world, a more generalized and larger prison less and less frightening than the narrow cell from which she has tried to escape through gin and through Buckle and through Luke."

C36      Ricou, Laurence. Vertical Man/Horizontal World: Man and Landscape in Canadian Prairie Fiction. Vancouver: Univ. of British Columbia Press, 1973, pp. 92, 116-20, 135. While admitting that "Manawaka is in many ways an untypical prairie town," Ricou also suggests that "the prairie landscape has shaped the themes of loneliness, the desire for freedom, and the agonizing lack of human contact" in Laurence's work. The narrow puritanism of Manawaka "can, in some way, be traced to the influence of the prairie landscape," a landscape "which discourages romance and imagination." Sees Hagar as "both of the narrow-minded puritan Manawaka and a rebel against all it represents." In A Jest of God "the dryness and dust are not only physical but descriptive of the small town's social atmosphere." In A Bird in the House the final response to this landscape is ambiguous. "Manawaka, gloomy and decaying, nevertheless fostered in its pioneers, and passed on to its children, a determined respect for man and the dignity of life."

C37      Waterston, Elizabeth. Survey: A Short History of Canadian Literature Toronto: Methuen, 1973, pp 12, 73, 140, 146. Briefly discusses Laurence's work under various headings including the role of women in Canadian fiction, the use of myths and archetypes, and the cosmopolitan outlook in Canadian literature.

C38      Pesando, Frank. "In a Nameless Land: The Use of Apocalyptic Mythology in the Writings of Margaret Laurence." Journal of Canadian Fictson, 2, No 1 (Winter 1973), 53-58. An important article Pesando begins his discussion with an analysis of several passages from The Prophet's Camel Bell, The Tomorrow-Tamer, and The Stone Angel which contain images of death and decay, and suggests that "the suddeness and prevalence of death, made so evident by her experiences in Somaliland, continued to preoccupy Margaret Laurence." Noting that others have commented on Laurence's use of Biblical imagery, Pesando goes on to state that "it is seldom recognized that these images are drawn almost entirely from two sections of the Bible Genesis and the Revelation of St. John the Divine, the tale of creation and the tale of destruction .... This linking of birth and death mythology is particularly evident in Laurence's use of the sea," the sea being associated with death and with regeneration. Argues as well that the sea in the Revelation is "the home of monsters" and in Laurence's work "the apparitions and the human grotesques are almost inevitably associated with the sea." Discusses in depth the figure of the grotesque in Laurence's fiction as it relates to her use of apocalyptic mythology and imagery.

C39      Ricou, Laurence R. "Empty as Nightmare: Man and Landscape in Recent Prairie Fiction." Mosaic, 6, No. 2 (Winter 1973), 143-60. In this discussion of the relationship between man and landscape in prairie fiction, it is suggested that in The Stone Angel Hagar is both a rebel against, and a representative of, the narrow-minded Puritanism that characterizes Manawaka.

C40      Gibbs, Robert "Introduction." In A Bird in the House. New Canadian Library, No. 96. Toronto: McClelland and Stewart, 1974, n. pag. Distinguishes the A Bird in the House stories from those in The Tomorrow-Tamer collection, stating that "the stories here are spacious and accomodating in much the way that the Manawaka novels are," and that "it is one understanding, a culminating one, of many in the story." Discusses the organization of the work, suggesting that there are advantages in the opposition between the book as an organic whole and as a book of stories. "The extrication of particular narrative threads from the nexus has a clarifying effect. Each story, in one way or another, encompasses the span between the events of childhood and the time of narration by the mature Vanessa. Isolating particular narrative lines gives clarity and emphasis to the discoveries made and creates an artifice of sequence out of the mass of experience." Also discusses the handling of time in the narratives. Analyzes a number of selected stories, placing them within the context of the work as a whole which traces Vanessa's growth towards inner freedom.

C41      Killam, G. D, "Introduction." In A Jest of God. New Canadian Library, No. 111. Toronto: McClelland and Stewart, 1974, n. pag. Suggests that the central problem and central theme in Laurence's work is the need to communicate. The nobility of her characters as human beings "proceeds from their persistent efforts at communicating with those close to them. It is as if in the lives of each of them nothing can be achieved in the way of a meaningful life until they identify and give expression to their problems." Discusses the persistent use of interior monologue in Laurence's work "The way in which the interior monologue is used varies from novel to novel, but its purpose is always to round out character, to give the reader an apprehension of the central figures that others in the world of the novel cannot possess." Rachel's monologues reveal the discrepancy between the public and the private Rachel, as well as "the extent to which her life is unsatisfactory and the near frantic effort she makes to find meaning and thus to make an adequate response to life." While "Rachel's communication is not perfect, nor are the gains she has made startling in the great scheme of things," she will survive "because she has achieved a kind of freedom and release."

C42      Moss, John. Patterns of Isolation in English Canadian Fiction. Toronto: McClelland and Stewart, 1974, pp. 225-38. Treats The Stone Angel in conjunction with Ernest Buckler's The Mountain and the Valley and Mordecai Richler's Son of a Smaller Hero, arguing that "all three define individuality in terms of the conflict between behaviour and consciousness," and that all three "treat Canadian experience as the valid continuation of a larger world." "What gives Mrs. Laurence's vision the resonant dimensions of universal truth is the anomalous interlacing of the destructive and constructive effects of her protagonist's recalcitrant pride." For Hagar, the divergence between appearance and reality is the source of both her isolation and her contumacy, and the struggle she lives is that between reality and illusion. Like Buckler's and Richler's protagonists, Hagar "endures the irony of her separate consciousness confronted by her own formative contexts." The divergence between appearance and reality is finally resolved "through the coming together of two sequences of time," so that she "'dies, a whole, reintegrated, recalcitrant being."

C43      Atwood, Margaret. "Face to Face." Maelean's, May 1974, pp 38-39, 43-46. ML. An account of Atwood's meeting with Laurence which includes biographical information, comments by Laurence, and a discussion of The Diviners. "The Diviners is a large and complex book, an orchestration of themes as well as a collection of stories. It's about Canada as well as Manawaka, 'about the need to give shape to our own legends, to rediscover what is really ours, what is here'"

C44      Engel, Marian. "Margaret Laurence." Chatelaine, May 1974, p 25. An informal discussion of The Diviners in which Morag is described "as a variant of an emotional history common to all writers, common to all women, common to all Canadians."

C45      Miner, Valerie. "Matriarch of Manawaka." Saturday Night, May 1974, pp 17-20. An account of Laurence's participation in a seminar at Trent University during the time she spent there as writer-in-residence. Also includes biographical information and some discussion of The Diviner.

C46      McDonald, Marci. "The Author: All the Hoopla Gets Her Frazzled." Toronto Daily Star, 18 May 1974, p. C7. Biographical sketch which includes some comments on The Diviners.

C47      Cameron, Donald. "The Many Lives of Margaret Laurence." Weekend Magazine, 20 July 1974, pp. 3-5. Biographical sketch dealing with Laurence's African experience, her childhood, her marriage, and her writing.

C48      Kertzer, J. M. "The Stone Angel Time and Responsibility." The Dalhousie Review. 54 (Autumn 1974), 499-509. A perceptive reading of Laurence's handling of time in The Stone Angel. "Through memory, Hagar relives her life in order to understand and come to terms with it," and what she seeks, finally, "is self-justification in the face of death." First, Hagar must "examine the causal development of her life to see how its different stages are related." Kertzer suggests that the idea of causality is merged with the concept of responsibility in the novel. "Much of Hagar's meditation is devoted to ascribing, eluding and finally accepting responsibility for the disastrous changes in her life," and while this analysis leads to confusion, "in response to this confusion Hagar's admirable qualities become apparent and her strong sense of herself proves a virtue." Her pride isolates her, yet it also serves as a basis for moral awareness. "By insisting on self-sufficiency, she forces herself to confront her own guilt. By insisting on human responsibility, she asserts a desire for justice." Kertzer sees the concepts of justice and responsibility as offering "a moral continuity through time." Finally, "the puzzling logic of time and responsibility" is transcended and accepted through pardon and forgiveness.

C49      McKenna, Isabel. "Women in Canadian Literature." Canadian Literature, No 62 (Autumn 1974), pp 69-78. In this discussion of the role of women in Canadian fiction, brief mention is made of The Stone Angel. "In the end, Hagar has been defeated by her turn-of-the-century small-town society as much as by the simple fact of age. For such as Hagar there was no place."

C50      Achebe, Chinua. Morning Yet on Creation Day. Essays. London: Heinemann Educational Books, 1975, p 12. Achebe comments briefly on Laurence's Long Drums and Cannons, praising her understanding of the African writing she discusses.

C51      Djwa, Sandra. "Biblical Archetypes in Western Canadian Fiction." In Western Canada: Past and Present. Ed. Anthony W. Rasporich. Toronto: McClelland and Stewart, 1975, pp. 193-203. Proceedings of the Western Canadian Studies Conference, University of Calgary, 1974. Discusses Laurence's work along with that of other prairie writers. Analyzes Laurence's use of Biblical analogues and prototypes in her fiction. Much of the discussion stems from Djwa's earlier article on Laurence and Ross. (See C34).

C52      Hind-Smith, Joan. Three Voices. Toronto: Clarke Irwin, 1975, pp. 3-60. Provides biographical information, including details concerning the publishing history of Laurence's work. Draws upon original sources as well as extensive personal interviews in the analysis of Laurence's writings. Examines all of Laurence's work from a fundamentally biographical perspective, stressing the time and place in which each book was written, as well as the relationship between Laurence's own experiences and those of her fictional characters. For example, Hind-Smith says of A Bird in the House that these storms "are about Margaret Laurence's early years in Neepawa, or Manawaka, as the town continued to be called. Vanessa is the fictional name Margaret Laurence gave herself." Also provides summaries of the action and themes of Laurence's works.

C53      New, William H. Among Worlds: An Introduction to Modern Commonwealth and South African Fiction. Erin, Ontario: Press Porcepic, 1975, pp. 116-18. Links Laurence's work with that of Sinclair Ross, paying particular attention to the way in which both writers let their characters "resolve their situations in relative terms." Sees in Laurence's work a rebellion against a rigid Calvinist morality, but also a recognition that one can never wholly deny one's heritage. In A Bird in the House, Vanessa "recognizes the 'political' restraints imposed by a family structure, but like Ross's characters she identifies herself by her partial acceptance of that order nonetheless." "The rigid Calvinist morality that Rachel Cameron, in A Jest of God, initially rejects because it confines her, she later finds she cannot wholly abandon."

C54      Atherton, Stan. "Margaret Laurence's Progress." The International Fiction Review, 2, No 1 (Jan 1975), 61-64. Includes a brief summary of Laurence's work up to The Diviners and an extended commentary on The Diviners itself. "What sets Morag apart from previous Laurence protagonists is her early clear-sighted recognition of her predicament and her ability to begin taking corrective measures, however difficult and painful, to improve her situation while there is still time." Claims that The Diviners is a "more consciously Canadian novel than the others," "with the legends of Piper Gunn and Jules' tales of Rider Tonnerre and the days of Metis glory providing the curious amalgam of fiction and history that make cultural myth."

C55      Engel, Marmn. "It's the Grit. Laurence Is Unforgettable because She Is Us." The Globe and Mail, 19 April 1975, p. 37. ML "Laurence's fiction becomes art because it succeeds in shaping truth, possibility and verisimilitude in such a way as to create an artistic whole." Laurence's Manawaka works "are not documentaries, but possibilities" and are important to many "because they belong to the fabric of the country." Laurence shows what many of her predecessors did not show, "the grit and fibre" that went into Canada's early settlements and she refuses to sentimentalize these communities. In fact, in the Manawaka novels, "the image of the 'adorable' small town is de-sentimentalized step by step."

C56      Gore, Leone "Margaret Laurence and the First Person." The Dalhousie Review, 55 (Summer 1975), 235-51. An analysis, informed by Wayne Booth's The Rhetoric of Fiction, of Laurence's use of the first person. Discusses in detail the distraction between reliable and unreliable narrators as it relates to Laurence's Manawaka works. Laurence's use of mirror images "is perhaps the most interesting aspect of the unreliable subjective view," presenting "both objective physical details and the character's own emotional reactions to what she sees." Traces the mirror images in the five works discussed. Argues that the reader's awareness of the narrator's unreliability allows him to accept contradictions for he is in "secret communion with the author, sharing knowledge about the fallible narrator." Laurence's choice of the first person places emphasis on "the perceptions of the narrator, as she seeks to define her present self through her Manawaka past."

C57      Gottlieb, Lois, and Wendy Keitner. "Mothers and Daughters in Four Recent Canadian Novels." The Sphinx, No 4 (Summer 1975), pp. 21-34. Using some of the ideas and feminine archetypes outlined by Phyllis Chester in Women and Madness, Gottlieb and Keitner examine the female characters and relationships in A Jest of God. The relationship between mother and daughter is most significant, and "in fact there are two mother-daughter relationships: the biological one between Rachel and Mrs Cameron, and the emotional one with Calla" which are antithetical. They discuss the imagery surrounding these relationships and conclude that Rachel, in the end, "envisions a reconciliation between individuality and maternity, between ruthlessness and responsibility." While Rachel "initially seems bound to her mother like Persephone to Demeter," in the end she is seen as "moving towards the Artemis prototype with the goal of her own wholeness."

C58      Thompson, Anne. "The Wilderness of Pride: Form and Image in The Stone Angel." Journal of Canadian Fiction, 4, No 3 (Summer 1975), 95-110. "In the word 'wilderness' is the concept which enables the reader to realize, in retrospect, the pattern which reforms the imagery and determines the organic structure of The Stone Angel." Suggests that there is a skeletal backbone of images which characterizes Hagar and her environment, and that the overall effect of these images is grotesque. Out of this framework two peripheral groups of images radiate, "one dealing with the wilderness, the other with the juxtaposition of past and present." Discusses the Biblical context of the novel, stressing the garden-wilderness complex of symbols. "The displaced garden or wilderness leitmotif is sounded and repeated with variations throughout The Stone Angel." Traces the displaced gardens Hagar moves to and from throughout the novel until she finally moves towards life.

C59      Struthers, J. R. (Tim). "Laurence's Ritual Epic Triumph." The London Free Prees, 12 July 1975, p. 43. Presents an overview of the five works which constitute the Manawaka cycle. Argues that "The Diviners is the culmination of Laurence's previous work. It gathers, develops, and surpasses motifs, situations, and techniques used in all of the previous Manawaka books." In terms of form in particular, The Diviners "represents a major experiment, a radical advance from the other Manawaka books." Suggests that "in undergoing the process of emotional and spiritual growth" necessary to achieve the "ideals of freedom and survival, Laurence's heroines frequently act as both penitents and priestesses." In The Diviners Christie, Royland, and Jules act as "a shaman or priest for Morag," yet Morag eventually "grows from the role of a penitent into that of a priestess." As priestess, Morag, "performs a ritual of transference" with Jules when they exchange the hunting knife and the plaid pin. "As priestess, Morag also blesses Christie, eventually, as Hagar finally blesses her remaining son Marvin."

C60      Lever, Bernice. "Margaret Laurence-Morag Divined." Canadian Review, Sept-Oct 1975, pp 34, 36-37. Challenges earlier assessments of The Diviners, including Robert Fulford's, suggesting that "Morag will not be accepted by either the married suburbanites or the urban 'libbers' for, at least, a generation." Maintains that "the two-way flow" of the past and present in The Diviners, "with its heavy dependence on nature imagery is the best method of telling Morag's story" and that Morag will be eventually accepted as "Margaret Laurence's greatest characterization."

C61     Gom, Leona. "Margaret Laurence: The Importance of Place." The West Coast Review, 10, No 2 (Oct 1975), 26-30. Treats the wilderness (nature), the town of Manawaka, and the city separately. The natural world in Laurence's Manawaka works "is almost always treated with a particular sense of love and lyricism," and is thus distinguished from "the obviously destructive small-town environment." Discusses the significance of the fact that all five of Laurence's heroines leave insular Manawaka for the city, only to discover that the city demands a different sacrifice from each. It is The Diviners which "articulates, more clearly than do any of the other novels, a compromise between country and city that is both practical and self-fulfilling." Concludes that "perhaps, then, the external geography Laurence's characters choose, is less important than their internal geography, their peaceful coexistence with their pasts." All her characters "must come to terms with the Manawaka in themselves, with the tribal influence of the small town and their own Scots-Presbyterian inheritance."

C62      Lever, Bernice "Nature Imagery in the Canadian Fiction of Margaret Laurence." Alive, No. 41 (1975), pp. 20-22. Discusses the importance of nature imagery and metaphor in Laurence's Manawaka fiction.

C63      Killam, G. D. "Introduction." In This Side Jordan. New Canadian Library, No. 126. Toronto: McClelland and Stewart, 1976, pp. ix-xviii. "Margaret Laurence achieves a distance and objectivity that no other expatriate has managed and thus she is, so far as I am concerned, the best expatriate writing about Africa." Offers a comparison between This Side Jordan and Chinua Achebe's No Longer at Ease. Suggests that despite the fact that Laurence and Achebe are from widely different backgrounds, they come to many of the same conclusions about the circumstances in which a particular generation of African finds himself, and do it in a manner which is wholly convincing. Examines the characters of Nathaniel Amegbe and Johnnie Ketsoe in detail. In response to criticism of the novel's formality and contrivance, states that "the interior monologues of Amegbe are neither offensive nor unconvincing," and that "the novel offers a quite exact re-creation of a cultural reality as it obtained in West Africa at the period of the novel's setting."

C64      New, Wilham H. "Fiction." In Literary History of Canada: Canadian Literature in English. Gen. Ed. and Introd. Carl F. Klinck 2nd ed. Toronto: Univ. of Toronto Press, 1976, Vol III, pp 265-69. Provides a summary of Laurence's development, stating that "the range and quality of her work made her the most recognized and accomplished of the writers of the 1960s." While many of the themes from her African fiction were carried over into the Manawaka works, "by the time of The Stone Angel, Laurence had managed to contain the intrusive artifice." In The Stone Angel, Laurence's "control of individual sentence patterns--to delineate characters and to convey thematic concerns stylistically" increased. The novel's Biblical parallels work "to establish a kind of Calvinist 'mythical' framework for Canadian moral decisions and give enormous depth to the first-person characterization." Argues that the fragmentation of style in The Fire-Dwellers creates a stylistic problem which "MacLennan and Kroetsch have been similarly obstructed by: the danger implicit in the presentation of a limited sensibility is that it is the author's capacities, rather than the character's, which may seem affected." Views Laurence's concern with tradition and the individual in A Bird in the House in relation to her African works which treated the effects of a European cultural heritage on nations seeking independence.

C65      Gore, Leona. "Laurence and the Use of Memory" Canadian Literature, No. 71 (Winter 1976), pp. 48-58. Analyzes Laurence's use of subjective time as memory in the Manawaka fiction. Argues that since the memory process is so crucial in The Stone Angel, "its misuse is the most serious artistic flaw in the work .... That details or events in the present should almost always cause Hagar's reminiscences seems to indicate that Hagar had no preconceived plan to tell her story chronologically." Suggests that in The Diviners Laurence returned to the basic structure of The Stone Angel, and that it too reveals the use of "associative memory." Yet the chronological arrangement in the latter work can be accepted if one sees the memory sequences of the novel as the novel Morag is writing. "Laurence has preserved the technique of The Stone Angel and legitimized it." Maintains that the use of memory is more successful in A Jest of God and The Fire-Dwellers than in The Stone Angel.

C66      Stevenson, Warren. "The Myth of Demeter and Persephone in A Jest of God." Studies in Canadian Literature, 1, No. 1 (Winter 1976). 120-23. Traces the relationship between the Demeter and Persephone pattern and A Jest of God, detailing the interaction between Rachel and her mother.

C67      Fuhrman, Michael. "Comment: Who's Afraid of Margaret Laurence?" Quill & Quire, April 1976, p 2. Comments on the controversy in the Peterborough school system over the teaching of The Diviners to high school students.

C68      Pollack, Claudette. "The Paradox of The Stone Angel." Humanities Association Review, 27, No. 3 (Summer 1976), 267-75. Maintains that the fundamental paradox of The Stone Angel is "that one regards Hagar, who sins far more than she is sinned against, in a charitable light," and that the central accomplishment of the novel is that Laurence creates such a response. Laurence's method of manipulating our feelings about Hagar is twofold: "the sustained use of archetypal associations" and the distinction drawn between the Hagar of the present and the Hagar of the past. "From beginning to end, Hagar is closely associated with two sympathetic archetypal figures," the outcast Hagar of Genesis and King Lear. "One reason that the Biblical archetype works so effectively is that Laurence firmly establishes Hagar's generation and background as that of a person who would automatically think in scriptural terms." But it is Hagar's similarities to King Lear that explain most fully our affection for her and our feeling that her experiences "are part of a pattern that extends backward and forward in time." Yet Hagar is not entirely like Lear for she possesses that sense of Self-directed humour which might have saved him, as it does her, from madness.

C69      Ayre, J. "Bell, Book and Scandal." Weekend Magazine, 28 Aug 1976, pp. 8-12. Provides a history of the dispute leading to the banning of The Diviners in Peterborough's high schools.

C70      Davidson, Cathy N. "Geography as Psychology in the Manitoba Fiction of Margaret Laurence." Kate Chopin Newsletter, 2, No 2 (1976), 5-10. Discusses the function of place in Laurence's Manawaka works, emphasizing the way in which place is connected with a sense of ancestry, a sense of roots.

C71      Thomas, Clara "The Wild Garden and the Manawaka World." Modern Fiction Studies, 22, No. 3 (Autumn 1976), 401-11. An important article. There are ways in which all of the Manawaka works are "conversion fables," stories which chronicle the "redirection" of an individual who has experienced some revelation of the wholeness of life, "but The Diviners is the most comprehensive in its quest and the most complicated in structure." Morag "seeks to understand her relation to all life, all time and eternity, and the resolution she finally comes to has both sacred and secular meanings for her." Discusses workings with concepts of time in The Diviners and suggests that it is the working out of the flow of remembered time, present time, and future time that gives the book "a structural shape whose graphic image is also the Yoruba symbol of the continuum of time, the three interflowing circles of the serpent swallowing his tail." Attention is paid as well to Laurence's sense of place and Thomas treats in detail "the garden-island pattern" which is "one central mythological 'signature' in Laurence's work." "Both can connote shelter and sanctuary," but most often "island connotes isolation, the 'islanded' individual," while garden suggests, especially in The Diviners, an awareness of one's place in "a grand and timeless design." "Morag's recognition of her wild garden is not a claiming of territory as her exclusive right; it is a simple yet miraculous new 'seeing' of the land, and in a real sense it frees her from the tyranny of place and the compulsion to seek islands."

C72      Morley, Patricia. "The Long Trek Home: Margaret Laurence's Stories." Journal of Canadian Studies, 11, No, 4 (Nov. 1976), 19-26. "Laurence's theme of themes remains the search for spiritual freedom and the difficulties inherent in that search" Examines this theme in The Tomorrow-Tamer and A Bird in the House, focussing on image patterns, characterization, and narrative structure. Analyzes a number of stories in detail to demonstrate the manner in which they reveal "the recurring archetype of the spiritual quest." Suggests that there are essentially two kinds of stories in both collections' those in which the mode is primarily ironic and tragic, and those in which the structure is fundamentally comic. In the former the focus is on forces which block movement towards spiritual freedom, "our spiritual home," while in the latter "the characters are successfully engaged, difficulties notwithstanding, in the long trek home." Stresses "the comic spirit of reconciliation" in Laurence's short stories.

C73      Mane, Robert. "Pour une lecture de Margaret Laurence: les deux stuctures de The Fire-Dwellers." Commonwealth Essays and Studies, No. 2 (Dec 1976), pp 134-49. Examines the two distinctive narrative styles in The Fire-Dwellers, paying particular attention to the novel's sense of fragmentation and Laurence's handling of the various levels of nine.

C74      Gros-Louis, Dolores. "Pens and Needles. Daughters and Mothers in Recent Canadian Literature." Kate Chopin Newsletter, 2, No 3(Winter 1976), 8-15. Treats the relationship between Morag and Pique in The Diviners in conjunction with works by Alice Munro, Fredelle Maynard, and Audrey Thomas.

C75      Harrison, Dick. Unnamed Country: The Struggle for a Canadian Prairie Fiction. Edmonton. Univ. of Alberta Press, 1977, pp 43-45, 183-88, 191-97. Discusses Laurence's work in conjunction with that of Robert Kroetsch, Rudy Wiebe, Sinclair Ross, and W. 0 Mitchell. Sees in the recent writings of these authors a concern with the "re-naming of the past .... It is as though they regarded their past as something that must be rediscovered because it has somehow been misrepresented to them." Explores the nature of Laurence's concern with the past, "not the personal past only but the collective past which surrounds it," and the way in which desires and convictions creatively shape the past for her characters. Also discusses significant image patterns in Laurence's work, particularly the imagery of death and burial and water imagery. Sees in Laurence's work and that of other contemporary prairie writers a re-working of familiar prairie archetypes. Suggests that the emphasis in Laurence's work is not on how to contend with the prairie itself, but on how to deal with "the residue of prairie experience which lies within." All of Laurence's prairie heroines are in some way imprisoned by pride and guilt, and they are seeking the absolution that could free them. At the same time they are victims of the prairie's Manawaka culture -- its bigotry, its Calvanist self-repression, its dedication to a few limited and life-denying truths which may have sustained the pioneers but which stifle the next generation and isolate them from the life which should be accessible to them."

C76      Moss, John. Sex and Violence in the Canadian Novel. The Ancestral Present. Toronto: McClelland and Stewart, 1977, pp. 69-83. Beginning with the thesis that "sexual behaviour in Laurence's women is inseparable from their total experience of themselves," Moss proceeds to discuss these experiences from a variety of Perspectives. Hagar, Rachel, Stacey, and Morag reveal "the conflict between roles imposed by gender" and "the essential self somewhere deep within." Morag is the least contained of Laurence's characters for "not only is she cast in many roles but she must contend at any given time with several selves as she either plays out the roles or denies them." It is from the convergence of roles and selves that personal identity -- "which is directly a function of gender" -- emerges. In Morag's case, she "manipulates the gender roles she feels bound to play in a sustaining attempt to achieve personal fulfillment." The final sections of the discussion concern the structure of The Diviners, its treatment of time, the concept of myth, and the relationship between truth and reality in Laurence's work.

C77      Woodcock, George. "Possessing the Land: Notes on Canadian Fiction." In The Canadian Imagination. Dimensions of a Literary Culture. Ed. David Staines. Cambridge, Mass: Harvard Univ. Press, 1977, pp 77, 92-93. Discusses Laurence along with Audrey Thomas and Dave Godfrey as Canadian writers who left Canada "and returned enriched to write their best work in Canada." In the case of Laurence, Africa provided the insights which unlocked her ability to perceive and to write about her own heritage, her own country, and there emerged that splendid series of time-obsessed myths of the Canadian prairie town from The Stone Angel down to The Diviners." Briefly mentions the influence of Ethel Wilson on Laurence's work.

C78      Chesley, Stephen "Second Take: The Trade in Film Rights." Quill & Quire, April 1977, pp. 3, 12-13. Includes comments by Laurence on the filming of her work. Sees a clear separation between book and film: "The book is my work and I'll stand behind it with my life. Not the film. That's somebody else's interpretation of my work."

C79      Melnyk, George. "Literature Begins with Writer's Craft." Quill & Quire, May 1977, pp. 9, 12. An account of Laurence's appearance at the University of Saskatchewan which includes some of Laurence's responses to questions raised by members of the audience. Laurence acknowledges her debt to Sinclair Ross and W. O. Mitchell and states that for her "being a writer gives a sense of belonging to a tribe."

C80      Bailey, Nancy. "Margaret Laurence, Carl Jung and the Manawaka Women." Studies in Canadian Literature, 2, No 2 (Summer 1977), 306-21. Suggests that "the struggle to define the self so as to be able to live freely in the present, while conscious of both the past and future, is a distinguishable mark of the Laurence heroine." Links the growth of awareness in Laurence's heroines to the thought of Carl Jung. Also discusses the prevalence of death in the Manawaka works which serves to emphasize the preciousness of life.

C81      Hehner, Barbara. "River of Now and Then: Margaret Laurence's Narratives." Canadian Literature, No. 74 (Autumn 1977), pp. 40-57. An examination of the narrative structures of Laurence's Manawaka fiction, with emphasis on The Diviners. While The Diviners "uses the most sophisticated narrative technique Laurence has yet attempted," it is not without serious flaws. Does maintain that the decision to write of Morag's past in the present tense and of her present in the past tense, was the right one, yet feels that the Memorybank Movies and Innerfilms are not successful, essentially because of their tone. "In the early sections of The Diviners there are long passages of childlike thought, which, when we are suddenly reminded of the author guiding our responses to Morag, become forced and un-heartwarming." Objects to the sense of negativism imposed upon Morag which is not supported by the plot. Discusses the theme of myth-making. In the novel in relation to the character. States that in the earlier works Laurence gave mythic dimensions to characters "by suggesting that their relationships to the protagonist re-enact a biblical situation " In The Diviners, Laurence takes the essential elements in these myths: exile and disposession, and reworks them in Canadian terms." In conclusion, argues that the novel contains too many characters and too many obtrusive narrative devices, yet one must admire Laurence for the scope of her effort.

C82      Russell, Kenneth C. "Margaret Laurence's Seekers after Grace." The Chelsea Journal, Sept.-Oct. 1977, pp. 245-48. Discusses Laurence's use of Biblical antecedents, and suggests that "not only are the language and imagery drawn from Christian sources, but the moment of saving insight to which her heroines come bears a distinctly Christian character." Emphasizes the importance of Providence and the providential pattern which leads to grace in Laurence's work. "The blessing each character experiences through the providential pattern of her existence is obviously different, but in each case at implies an acceptance of self, not the dreamt or willfully created self but the real self."

C83      Grace, Sherrill. "Crossing Jordan: Time and Memory in the Fiction of Margaret Laurence." World Literature Written in English, 16, No. 2 (Nov 1977), 328-39. An analysis of the formal and thematic aspects of time and memory in Laurence's fiction. Suggests that in A Bird in the House and The Diviners, Laurence's command of technique allows her to "dramatize the growth of Vanessa and Morag thereby freeing them, on the narrative level, from the stasis that encumbers the other women" in Laurence's work.

C84      Dombrowski, Theo Q. "Who is This You? Margaret Laurence and Identity." University of Windsor Review, 8, No 1 (Fall-Winter 1977), 21-38. "The forces that shape identity and the role of consciousness in the resultant identity are central to Laurence's concern." Comments on Laurence's preoccupation "with the effects on character of the past as it works in complex, cumulative layers." For Laurence, the personal and the ancestral past are strongly associated with place, and place, coupled with memory and heredity, provides clues to the nature of identity. Yet in Laurence's world "one can never fully know anything," essentially because of "the very nature of the sensibility, caught between what the mind knows as its own reality and what presents itself as an opposing reality." "Concerned thus with the sensibility caught between its own inner authority and the more brutal authority of the world without, Laurence frequently presents characters for whom the will is of vital importance as it embodies the power to effect the transition between the two worlds." This attempt to know the self and to enact one's will on the world is presented in a similar fashion in the characters of Stacey, Vanessa, and Morag in particular.

C85      Carrington, Ildiko de Papp. "`Tales in the Telling': The Diviners as Fiction about Fiction." Essays on Canadian Writing, No. 9 (Winter 1977-78), pp 154-69. An important discussion. "The Diviners, Margaret Laurence's fifth novel and the final work in the Manawaka series, is fiction about fiction, its multiplicity of narrative forms is a result of this fact." Carrington analyzes the significance of the photographs, the Memorybank Movies and the Innerfilms, as well as the novels Morag writes in the course of the novel, and Jules's and Christie's tales. States that "the achievement of this novel lies in its technique, not in its theme. The emphasis is on tales in the telling: this gerund denotes not a completed structure but a continuing action. Laurence dramatizes in detail the creative processes by which 'facts' become fictionalized, by which life, lived and remembered, is not simply recorded but intellectually and emotionally reinterpreted in successive stages of time and imaginatively transmuted not only from one narrative form to another but also from one point of view to another."

C86      Cooper, Cheryl. "Images of Closure in The Diviners." In The Canadian Novel: Here and Now. Ed. John Moss. Toronto: NC, 1978, pp 93-102. "Each of the five Manawaka books can stand on its own, but The Diviners is enhanced by its relation to the other books as a work of summation and closure." Argues that The Diviners is a "self-regarding fiction" and that its "overarching image is reflexivity." The conscious act of looking in a mirror or of watching 'old films,' this act of recollecting and ordering a personal history as a final testament, is an act of closure." Sees The Diviners as "a figural narrative akin to Joyce's A Portrait of the Artist as a Young Man," and discusses the manner in which all the narrative levels of the novel are related to Morag's position as artist. "The younger Morag who eventually writes novels is portrayed by an older Morag writing a novel about her." Also discusses the significance of The Tempest in relation to the novel Morag is writing titled Prospero's Child. "The Manawaka books form a roman-fleuve and The Diviners consciously and effectively pulls them all together." Discusses the way in which The Diviners echoes the other works on thematic, structural, and linguistic levels.

C87      Mathews, Robin. Canadian Literature: Surrender or Revolution. Toronto: Steel Rail, 1978, pp. 122, 129, 135, 193. Sees Laurence as a writer who rejects "the liberal individualist position" and who builds novels with "specific concern about the choice between the individual and the community." Challenges Atwood's reading of The Stone Angel, arguing that "the view of Canada /Canadians as loser is destructively overemphasized." One of the most important things about Hagar Shipley's development in Stone Angel is the enormous irony of the close. When she learns to know the affliction of others and learns to serve, all of her individualist demands might in retrospect be thrown into an entirely new light." Suggests that "if it is true that a community struggling for survival cannot afford nor spend praise on the alien who demands only his own thing, then Hagar's insight relates to the political, social, as well as personal idea of survival and beyond in Canada."

C88      Statues, David. "Introduction." In The Diviners. New Canadian Library, No 146. Toronto: McClelland and Stewart, 1978, pp v-xiv. Suggests that unlike the four earlier Laurence heroines who were born and raised in Manawaka, "Morag is an outsider" who, from the beginning, "has a definite and defined perspective on the town and its inhabitants." As well, unlike the earlier protagonists, Morag is "an observer of people, a writer, an 'inveterate winkler-out of people's life stories.'" Discusses the form and structure of the novel, paying particular attention to events and episodes crucial to Morag's artistic development. "Reliving her life through her memory leads to her acceptance of the past and its vital connection to the present, for time, as the structure of The Diviners illustrates, is an endless continuum." Traces the movement of the Currie plaidpin and Lazarus Tonnerre's knife from The Stone Angel to The Diviners, concluding that "Hagar Shipley, so proud of her ancestry and its embodiment in the brooch, would find personal satisfaction in the knowledge that Morag Gunn, the historian and chronicler of Manawaka, is now the owner of this talisman of the town and its ancestors." In the second half of the introduction, Statues places the novel in the tradition of the Bildungsroman, suggesting that as the Bildungsroman "explores the formative years in the life of an individual who is frequently a writer or another kind of artist, it is not uncommon for this novel to contain a degree of autobiography." States that the novel is "autobiographical fiction in contrast to the 'fictionalized autobiography' of A Bird in the House." "The autobiographical dimension of The Diviners is the embodiment in Morag Gunn of Laurence's own ideas about life and art." Concludes that "for Morag Gunn, Manawaka's historian, and Margaret Laurence, Manawaka's creator, art is a distillation of the private and the fictional, and this mysterious process of literary creation is the theme and form of The Diviners."

C89      McCallum, Pamela. "Communication and History: Themes in Innis and Laurence." Studies in Canadian Literature, 3, No 1 (Winter 1978), 5-16. Argues that The Diviners provides "a connecting link between Innis' well-known writings on Canadian economic history and his almost forgotten work on communications." The Diviners, which is structured around the same concerns as in Innis' work -- "the implications of oral and written communication, social power, and ideological manipulation" -- goes on to reassess and redirect central difficulties in his theories. Suggests that "Innis' schematic opposition between the static fixity of print and the fluidity of speech breaks down when confronted by lived experience in the twentieth century" and that, in The Diviners, these complications are reformulated and refocused. Discusses the movement from snapshots to movies in the novel as "a shift from a passive past, essentially separate from the self, to an active past pressing in on the individual, defining both consciousness and historical development." As Morag develops a sense of the past, through Christie's tales, she begins to understand "that the spatial confines of Manawaka are not absolute." Analyzes Morag's rediscovery of written expression and suggests that her novels "act as a mediation between individual experience and the broad socio-historical patterns suggested by the tales." Laurence's recognition "that all forms of communication are limited and distorted by the pressuring social structures they necessarily inhabit," coupled with the reassertion of "the creative potential in both written and oral communication," reintroduces genuine dialectic to Innis' theories "Innis analyzed the dominating forces in Canada's past. Laurence discloses not only that domination, but also resistance against it."

C90      Cooley, Dennis. "Antimacassared in the Wilderness: Art and Nature in The Stone Angel." Mosaic, 11, No 3 (Spring 1978), 29-46. In this detailed analysis of The Stone Angel particular attention is paid to the opposition between art and nature, as well as to the novel's Jungian dimensions. "In the cemetery passage Laurence raises a series of alternatives that will figure throughout the rest of the book. She opposes what is foreign and what is native, what is imposed and what is discovered, what is artificial and what is natural." Suggests that Hagar is torn between civilization and the wilderness, and that she lives by her persona, divided between her reward and outward selves, "the one natural and vital, the other acquired and life-denying." As Hagar's carefully constructed garrison begins to fall, the shadow archetype powerfully emerges, nearly displacing the persona and the animus. . . .Ironically, as Hagar is dying, she is coming to life. She strays from her deliberate normal paths and static, impregnable garrisons, wandering toward the 'wrong' side of life which is the deep, dark, unconscious, fluid world around her and within her -- the very world she's been taught to view as subordinate or wrong." Sees in Hagar's movement toward personal wholeness the pattern of the Jungian concept of individuation, "the realization of one's entire self, partly hidden when someone becomes fragmented as a result of taking on a 'civilized' self."

C91      Jeffrey, David L. "Biblical Hermeneutics and the Family History in Contemporary Canadian Fiction: Wiebe and Laurence." Mosaic, 11, No 3 (Spring 1978), 87-106. An important and detailed article. Discusses the way in which Wiebe, in The Blue Mountains of China, and Laurence, in The Stone Angel, "have incorporated Biblical hermeneutical models into the narrative and rhetorical structures of their works," and "how it is that they appeal to an appreciation of the models on the part of their readers as a guide to interpretation." Suggests that "in Canadian fiction, the family device is developed almost as a topos, and both as theme and structure invites the archetypal information and interpretive universality afforded by its best known precedent, the Bible. In different ways, Wiebe and Laurence each set out to compose a family history. In doing so, they build into their novels, as present texts, the structure and interpretive signals of an absent text." Outlines the two principal aspects of Biblical hermeneutic in relation to both novels. The first "is an external narrative structure or model, a 'family history' known as 'the story of the covenant,'" and the second "is an inner rhetorical structure which governs the psychology and narrative purpose of the story. The basic rhetorical method of the inner structure can be described as a series of apparent analogues -- actually a progress of refocusings -- or a fugue of perspectives through which the reader comes, by dialogue, to recognize the significant interrelationship of all stories to a comprehensive and ongoing narrative. "Concludes that the two novels discussed "proceed from conviction that what gives Canadian family experience its particular sense of identity is the relation of a vast yet present place to a spiritual journey whose storied character has been imagined before and beyond the sound of present voices."

C92      Johnston, Eleanor. "The Quest of The Diviners." Mosaic, 11, No 3(Spring 1978), 107-17. Using Jason's Quest as a model, analyzes the growth and development of Laurence's Manawaka heroines. "The inner struggles Hagar, Rachel and Stacey undergo are the psychological equivalents of Jason's Quest: like him they leave a familiar, distressed state and find new meaning with which they can restructure, and survive in, their everyday lives." Suggests that divination is a word "which refers to the central action of these Manawaka novels, the mysterious process of the search for hidden and valuable understanding." Discusses the various forms of divination, and the various diviners, Royland, Christie, Jules, and Morag, in The Diviners.

C93      Surguy, Phil. "Initiation Writes." Books In Canada, April 1978, pp. 7-9. Discusses Laurence along with Audrey Thomas and John Clute, and includes comments by all three writers concerning the writing of their first novels.

C94      Boone, Laurel. "Rachel's Benign Growth." Studies in Canadian Literature, 3, No 2 (Summer 1978), 277-81. Challenges earlier assessments of A Jest of God which held that Rachel's tumour was simply a pat solution to her problems (and those of the novelist), or a rather arbitrary and blatant symbol of death. The tumour "is not the growth of a new life in that it is not the baby she thought she was carrying, but she sees it as a nonlife, not as a representative of death. In subjecting her thoughts and feelings to the voice of her mother, Rachel lives under "the law of spiritless conformity," choosing "a safe middle ground between life and death." Rachel's indecision concerning her possible pregnancy is complex "for in a way the baby itself represents death," and her decision to have the baby comes as "an affirmation of life" and brings about her rebirth. "In an act analogous to her acceptance of her pregnancy, Rachel takes on moral as well as physical responsibility for her mother. When her nonmalignant tumour is gone, so is her bondage to nonlife; her benign growth has enabled her to give birth to herself."

C95      Hutcheon, Linda. "Atwood and Laurence: Poet and Novelist." Studies in Canadian Literature, 3, No 2(Summer 1978), 255-63. A comparative analysis of The Stone Angel and Atwood's The Edible Woman. Maintains that there is a difference in the degree of trust each writer places in the reader, and suggests that this may be related to the fact that Atwood is a poet as well as a novelist. Questions whether there is "a particularly novelistic use of imagery that is structurally different from what we might term a more poetic usage." Examines a number of image strands in The Stone Angel which "work to strengthen the basic thematic and narrative structures of the novel," and concludes that while it not unusual that Laurence should use both explicit commentary as well as the structural functions of imagery, it is surprising that she needs "to use the narrative commentary as a means of insuring the reader's comprehension of the function of the imagery." Atwood, on the other hand, "chooses to hang the narrative upon a solid scaffolding of imagery, rather than to supplement the narrative and thematic lines by supportive and well-explicated image patterns -- such as the stone angel or the biblical archetypes of Laurence's novel." Concludes that in Atwood's work "less is explained, much is left to the reader," while in Laurence's, great care is taken "to enable the reader to see thematic connections." Suggests that "poets who write novels do have a rather different 'hermeneutic' relationship to both their readers and their narrative structures than do most novelists."

C96      Williams, David "The Indian Our Ancestor: Three Modes of Vision in Recent Canadian Fiction." The Dalhousie Review, 58, No 2 (Summer 1978), 309-28. Treats The Diviners in conjunction with Rudy Wiebe's The Temptations of Big Bear and W. O. Mitchell's The Vanishing Point. Suggests that Morag's search for ancestors "touches on the dilemma which is endemic to her home and native land. True homes or 'real' countries are not possible without informing myths, and yet Morag's longing for a fatherland lays bare the reluctance of her own country to foster myths." Argues that "the subject of ancestors for Laurence must be predicated upon some unnamed form of continuance" which transcends blood and biology, and supersedes orthodox Christianity. "The world of The Diviners belongs ultimately to the cosmos of the pagan myths." Discusses the figure of the shaman in this cosmos as "the mediator between tenuous and absolute states of being. The shaman's desire to share in the spirit condition is then an attempt, in the words of Eliade's dominant insight, to ensure that 'historical time is abolished and mythical time regained.'" In The Diviners Laurence offers "a final, fuller symbol of the coherence of past and present, of parent and place. Her outlook does not, on the one hand, make history the only ground of being; on the other, it does not demand an abnegation of racial ancestors. "Discusses the significance of Christie's tales and Jules's songs. Sees in pique, the child of racially and mythically opposite parents, the emblem of a new order of being. Pique's naming of her ancestral land, through her songs, "restores the broken circuit, makes her one with her ancestors, in fact makes the Ancestors one." "Ultimately, for Laurence, the ancestors are within, if in the blood, also in the unconscious as those who never lived in 'so-called real life,' but who will always be. If they come dressed in the accidents of history, if they make their appearance through the particular time and place of the individual, they nevertheless make over the present in their own image."

C97      Blewett, David. "The Unity of the Manawaka Cycle." Journal of Canadian Studies, 13, No 3 (Fall 1978), 3159. A fascinating discussion of the Manawaka cycle. Blewett argues that "the Manawaka cycle is unified not only by the centripetal pull of the home town itself, but by the development over the four novels of a vision of the human condition which is not fully rendered until the cycle is completed." Considers three ways in which "the fragmentariness of ordinary life," as explored in each work, "is seen against, and so continually absorbed into, a sense of design and purpose in the universe." These include "the meaning of Manawaka, the continuity of a major device, that of contrasted pairs of individuals and images, and an elaborate parallel with Eliot's symbolism of the four elements in The Waste Land." Sees Manawaka as "an emblem of human divisiveness" which reveals Laurence's "vision of the conditions of modern life, and perhaps of all human life, which is why it ultimately proves impossible to get away from." Presents an extended analysis of "the symbolic opposition of the town's cemetery and its garbage dump" as one example of "Laurence's sense of the contrasts and contradictions that spring up in life to divide human beings." Paradoxically, the garbage dump, for all its sordid associations, by the end of the cycle stands for an humanity, which we see in Christie Logan, and which is the very reverse of the inhumanity earlier associated with Jason Currie, the cemetery, and Currie Memorial Park." In the final section of the article, Blewett traces the movement of the cycle "from dryness to water, from spiritual barrenness to rebirth, from separation to reconciliation." This movement is paralleled to that in Eliot's The Waste Land, both of which are "fashioned by an elaborate imagery of the four elements." Suggests that the foremost element in The Stone Angel is earth; in A Jest of God, air: in The Fire-Dwellers, fire, and finally in The Diviners, it is water.

C98      Colson, Theodore. "The Theme of Home in the Fiction of Canada, the United States, and the West Indies." English Studies In Canada, 4, No. 3 (Fall 1978), 351-61. Briefly examines The Diviners in this discussion of the theme of home in various works of fiction. Suggests that in many Canadian novels, as in The Diviners, "the problem is not how to go home but how terribly difficult it is to get away." Also suggests that though Canadian writers, like American authors, have "mourned deficiencies in their environment," "they differ from the American in specifically mourning the lack of a mythology."

C99      Davidson, Cathy N. "Past and Perspective in Margaret Laurence's The Stone Angel." The American Review of Canadian Studies, 8, No. 2 (Autumn 1978), 61-69. Despite the fact that Laurence uses different techniques in each Manawaka work, in each she "essentially shows a character attempting to cope with her present (and her future) by re-evaluating crucial episodes from her past." While this process yields "no profound revelations," the characters do learn to see 'that there has been a pattern to their lives and that they themselves have largely shaped the present moment. This in itself is the revelation. The protagonist can thereby cease seeing herself as a victim in a tragedy that she did not direct and become the narrator of her own story." Suggests that the tragedy of Hagar's past is not different from the tragedy of her present. Both her memories of the past and her attempted escape from her present situation indicate that "Hagar's vaunted strength is a sham." Through the interweaving of past and present pretense, "the author requires the reader to see the central fact of Hagar's life: the incapacitating fear of death that Hagar strives to hide from all-- and most of all from herself." Only after dropping the pose of trying to appear fearless can she face death. "Like Stacey she comes to accept her life, for better or worse. Since part of her life is her fear of death, she accepts that too-but with a ferocity that she can at last honestly muster." In the end, "she achieves the strength that earlier she could only claim."

C100     Engel, Marian. "Steps to the Mythic: The Diviners and A Bird in the House." Journal of Canadian Studies, 13, No 3 (Fall 1978), 72-74. A comparative treatment of The Diviners and A Bird in the House which indicates some of the reasons readers have felt a sense of discomfort with The Diviners. Argues that although Vanessa and Morag have "a number of things in common, writing is the only element in their lives that places them on a comparable level, and one has no doubt that the misspelt utterances of the child-outsider are more powerful than those of Vanessa, who, although she is a profoundly nice child, has inherited the smugness of her family's place in Manawaka society." Suggests that it is the "flight from propriety, this decision to deal with the underbelly of Manawaka, that allows Laurence to rise above neat banality in The Diviners." Maintains that there is a "streak of harsh, gritty realism in Morag" which "lifts the novel into the mythic." She is one of the few heroines who achieves the apocalypse of knowing what her life has been about, not through the agency of a man, but through her own experience."

C101     Grace, Sherrill. "A Portrait of the Artist as Laurence's Hero." Journal of Canadian Studies, 13, No. 3 (Fall 1978), 64-71. Begins with a discussion of the Canadian hero, suggesting that "there is a remarkable consistency in the nature of our heroes throughout the twentieth century, in spite of formal shifts from the romance of Connor to the realism of Margaret Laurence." These characters share at least five basic qualities, the first being their ability to work." The other shared qualities are "the fact that these heroes are makers and builders devoted to the creation of a nation"; they are conservative in their "reverence for the past, for traditions"; they possess "a highly developed moral consciousness which finds its expression in the acceptance of social values and/or an active sense of personal guilt"; they embody "a deep loyalty to community, as opposed to the individual self." Sees Morag as "an excellent example of the Canadian hero-as-builder."

C102     Hughes, Kenneth James. "Politics and A Jest of God." Journal of Canadian Studies, 13, No 3 (Fall 1978), 4054. Argues that in A Jest of God "the politics are so structured into the characters that the interaction and conflict of these characters in everyday life become aspects of the political." Distinguishes and discusses four different dimensions of Character: "the individual character in relation to the prototype, the individual as individual, the individual as Lukcasian type, and the individual as type of social class." Suggests that Laurence defines characters by contrast with prototypes and in so doing "sets off the old imperial grand heroic against the democratic, low-key, ordinary and everyday heroic which is her norm for a post-colonial Canadian society." Maintains that Rachel must be seen "as individual, as woman, and as the symbolic representation, the 'type' of Canada in a process of transformation." Rachel simultaneously speaks as an individual struggling with her own psychological situation, and as "the type or voice of a country that can begin to see its own way clear from a colonial past into an independent national future." Seen as a type, "Rachel's mind-body conflict represents in microcosmic form the larger social class and value split in Manawaka society," and "we have presented to us in Rachel a vision of a post-colonial Canada moving uncertainly yet with hope onto the stage of the world."

C103     Lennox, John Watt. "Manawaka and Deptford: Place and Voice." "Journal of Canadian Studies, 13, No 3 (Fall 1978), 23-30. Compares and contrasts place and voice in the Deptford fiction of Robertson Davies and the Manawaka fiction of Margaret Laurence, paying particular attention to Fifth Business and The Stone Angel. "Davies deals literally and figuratively with 'deep caves' which become the mystery and experience and knowledge of the esoteric and the unusual." In Laurence, one finds both deep caves and kitchen linoleum for she illuminates the mystery and experience and knowledge of the familiar and the commonplace." Place in Davies' work reveals rather "the pedestrian life of small-town Canada with its solid citizens and its freaks" or "the extraordinary mysteries and people of older cultures imbued with a thoroughgoing aesthetic sense," while place in the Manawaka works discovers "the extraordinary within the pedestrian." Concludes that "it is ultimately the Manawaka voices which articulate the accents and places of the Canadian imagination with the most authentic resonance." As the vocabulary, idiom, and tone of Davies' narrators claim "international citizenship," "their stories are reflected and deflected out of Canada to a country 'where big spiritual adventures are possible.' "In dramatizing the division between the 'homespun' or the plain speaker and the social civilized being, the Deptford novels perpetuate a traditional, graceless dichotomy in Canadians' view of themselves, a dichotomy which is so convincingly belied and bridged by the Manawaka voices."

C104     Morley, Patricia. "Margaret Laurence's Early Writings: 'a world in which others have to be respected.' "Journal of Canadian Studies, l3, No. 3 (Fall 1978), 13-18. Discusses Laurence's African writing and suggests that "Africa was catalyst and crucible for much of Laurence's work." Sees The Prophet's Camel Bell as "both a spiritual autobiography of a critical decade in Laurence's life, and a portrait of a people." Discusses the influence of Mannoni's The Psychology of Colonization on Laurence's thought.

C105     New, Wilham H. "Text and Subtext: Laurence's 'The Merchant of Heaven.'" Journal of Canadian Studies, 13, No. 3 (Fall 1978), 19-22. Acknowledging that Laurence's concern for the Old Testament appears throughout her work, New suggests that "it is a fascination with the power and the poetry of the Old Testament, moreover, rather than a declaration of belief in any literal truth, which underlies these repeated images and observations." "Her characters have to learn, when walking through symbolic landscapes, how to recognize the symbols, they have to refuse to be defined by narrow interpretations of life's possibilities, they have to free themselves from an attitude of mind that equates the symbol itself, rather than the understanding evoked by the symbol, with reality." Maintains that Laurence technically articulates these distinctions by building a story around "a central illusion or a central 'text,' " and then countering this story with a 'subtext'-- "a tangential set of allusions which alters its implications and its potential rigidity." Discusses this process in relation to "The Merchant of Heaven," suggesting that the central narrative's message which is articulated by the Revelations text is countered by the 'subtext' from Acts.

C106     Peterman, Michael, "Margaret Laurence." Journal of Canadian Studies, 13, No. 3 (Fall 1978), 1-2, 100-04. Essentially an introduction to and commentary on the essays in the special Journal of Canadian Studies Laurence issue. Also includes some personal responses to Laurence and her work.

C107     Russell, Kenneth, C. "God and Church in the Fiction of Margaret Laurence." Studies in Religion/Sciences Religieuses, 7, No 4 (Fall 1978), 435-46. Discusses the split between the appreciation of Christian tradition and the evaluation of the local churches in which it is embodied in Laurence's work. Suggests that in her writings "the values and atmosphere seem distinctly Old Testament. Certainly punishment, reward, condemnation, and the emphasis on material blessings call to mind the chosen people rather than the New Testament community of Acts." Concludes that the church Laurence describes "is primarily a social place which reflects and justifies the secular order," and "the God it worships is the ideal of that order personified, an idol which deserves to be overturned because it blocks the view of the Incomprehensible Goodness."

C108     Thomas, Clara. "The Chariot of Ossian: Myth and Manitoba in The Diviners." Journal of Canadian Studies, 13, No 3 (Fall 1978), 55-63. Suggests that there are three mythic sets woven into The Diviners: Christie's tales, Jules's tales, and "the adult Morag's half-playful, half-serious myth-making of Catharine Parr Traill." The reference to Ossian "indicates far more than nostalgia and regret" for "transmitted through Christie to Morag, the work becomes a dynamic factor in Morag's search for her own identity." "The tales of Piper Gunn are told to Morag to explain and illuminate her background and to engage and support her belief in her family's and her own pride and honour. When she accepts them they become, for her, powerful myths. She bases her identity on them and she acts out of her trust that they are a part of her." The tales of Jules Tonnerre operate in a similar fashion for both Morag and Pique. Suggests that although Laurence's work is markedly "literary" in the conventional sense, "she is predominantly engaged in writing out of the experience of Canadians and in their accustomed speech patterns." Places particular emphasis on the Manitoban element in The Diviners. "With the background of the Sutherlanders and the Metis, Morag's youth is unmistakably set in a Manitoba that has been given historical--and in Laurence's hand mythological-depth."

C109     Warwick, Susan J. "A Laurence Log." Journal of Canadian Studies, 13, No 3 (Fall 1978), 75-83. A listing in chronological order of selected events in Margaret Laurence's life as a writer to 1978, including her book and periodical publications. A checklist of selected books and articles, in chronological order, on her work is appended to the Log.

Cl10     Woodcock, George. "Many Solitudes: The Travel Writings of Margaret Laurence." Journal of Canadian Studies, 13, No 3 (Fall 1978), 3-12. An excellent discussion of Laurence's travel writing. Describes The Prophet's Camel Bell as "much more than a mere narrative of exploration, it is an autobiographical document, a guide book to a large area of the mental world in which the novels, from This Side Jordan to The Diviners, were conceived." Both The Prophet's Camel Bell and Heart of a Stranger are important "in what they reveal of the state of mind out of which Margaret Laurence's stories and novels emerged." States that the earlier travel book represents "an intermediate genre between the novel and the ordinary travel narrative," and suggests that it moves forward on three levels. The first level deals with landscape, the second with character, and the third "is a study of the author's own mental development, and of the transformation of her reactions to a strange world during the two years she lived in Somaliland, this process of unfolding self-revelation runs through the book from beginning to end, and is not only its profoundest theme but also its main structural connection." Essentially, it is the experiences of foreignness, of the special self-recognition that comes to exiles, of the difficulty of communicating over cultural barriers, that carry forward from Margaret Laurence's Somali experience into her later work and make The Prophet's Camel Bell so important as a key to understanding her writing."

Clll     Labreche, Julianne. "Bad News for Good Books: Mrs Grundy Rides Again." Maclean's, 2 Oct 1978, p 526. A brief commentary on the banning of a number of books, including The Diviners, in various Ontario high schools.

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Part 2 Works on Margaret Laurence; Books, articles and sections of books, theses and dissertations, interviews, awards and honours; Awards and honours  

Warwick, Susan J. (compiler)

C150     Beta Sigma Phi First Novel Award for This Side Jordan (1961).

C151     President's Medal awarded for short story "A Gourdful of Glory," University of Western Ontario, London, Ontario (1961).

C152     President's Medal awarded for short story "The Tomorrow-Tamer," University of Western Ontario, London, Ontario (1962).

C153     President's Medal awarded for short story "Mask of Beaten Gold," University of Western Ontario, London, Ontario (1964).

C154     Governor-General's Award for Fiction for A Jest of God (1967).

C155     Honourary Fellow of United College, University of Winnipeg (1967).

C156     Writer-in-Residence at the University of Toronto (1969-70).

C157     D. Litt, McMaster University, Hamilton, Ontario (1970).

C158     Made a Companion of the Order of Canada (1971).

C159     D. Litt., University of Toronto (1972).

C160     LL.D., Dalhousie University, Halifax, Nova Scotia (May 1972).

C161     LL D., Trent University, Peterborough, Ontario (26 May 1972).

C162     Writer-in-Residence at the University of Western Ontario, London, Ontario (1973).

C163     D. Litt., Carleton University, Ottawa, Ontario (1974).

C164     Writer-in-Residence at Trent University, Peterborough, Ontario (1974).

C165     D. Litt., Brandon University (1975).

C166     D. Litt., Mount Allison University, Sackville, New Brunswick (1975).

C167     D Litt., University of Western Ontario, London, Ontario (1975).

C168     Governor-General's Award for Fiction for The Diviners (1975).

C169     LL.D., Queen's University, Kingston, Ontario (1975).

C170     Molson Prize for The Diviners (1975).

C171     Woman of the Year Award by B'nai B'rith Toronto Women's Branch (1976).

C172     D. Litt, Simon Fraser University, Burnaby, British Columbia (1977).

C173     Periodical Distributor's Award for mass paperback edition of A Jest of God (1977).

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Part 2 Works on Margaret Laurence; Books, articles and sections of books, theses and dissertations, interviews, awards and honours; Books  

Warwick, Susan J. (compiler)

C1       Thomas, Clara. Margaret Laurence. Toronto: McClelland and Stewart, 1969. 64 pp. In the first of her books on Laurence's work, Thomas traces Laurence's development from A Tree for Poverty to A Bird in the House. Much of the material included here was later incorporated into Thomas' The Manawaka World of Margaret Laurence(see C2).

C2       Thomas, Clara. The Manawaka World of Margaret Laurence Toronto. McClelland and Stewart, 1975. 212 pp. New Canadian Library, No. 131. Toronto: McClelland and Stewart, 1976 212 pp. Provides valuable biographical information, particularly concerning Laurence's ancestry and the time she spent in Africa, as well as detailed analyses of all of Laurence's works. Special attention is paid throughout to Laurence's concern with the past, both individual and cultural, and to the sense of place evoked in her writing. "Margaret Laurence's Manawaka world is Everyman's and Everywoman's, but its particularities are emphatically Canadian. Grounded in a small western town, her people move out into the wider world, but they carry Manawaka with them, its constraints and inhibitions, but also its sense of roots, of ancestors, and of a past that is living still, both its achievements and its tragic errors." Thomas quotes extensively from Laurence's unpublished lecture, "Gadgetry or Growing?. . .Form and Voice in the Novel," in her discussions of the formal and stylistic aspects of Laurence's work. Biography, thematic analysis, and discussions of form, voice, and language are carefully integrated throughout this study. Includes a bibliographic checklist.

C3       New, William H., ed. Margaret Laurence: The Writer and Her Critics. Toronto: McGraw-Hill Ryerson, 1977 224 pp. (Hereafter abbreviated as ML Annotations of individual sections appear with their original publication citation). Provides a cross-section of reviews and critical articles dealing with Laurence's work, as well as several pieces by Laurence herself. The writing chosen for inclusion in the collection reveals a wide range of perspectives on Laurence's work. Included are discussions of Laurence's predominant themes, essays focusing on "the artifice of fiction" as revealed in Laurence's work, treatments of "the empirical features of the world she has created, its social realities," and commentaries on her development as an artist. An important book in that it provides a comprehensive view of the critical responses to Laurence's work between 1960 and 1975. It should be noted that one review, "Muddling into Maturity," is incorrectly attributed to Laurence.

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Part 2 Works on Margaret Laurence; Books, articles and sections of books, theses and dissertations, interviews, awards and honours; Interviews  

Warwick, Susan J. (compiler)

Cl12     Kroetsch, Robert "A Conversation with Margaret Laurence." In Creation. Toronto: new press, 1970, pp. 53-63. In this conversation, Kroetsch and Laurence discuss a variety of issues. Laurence speaks of Kroetsch's "enormous sense of geographical background" which is both realistically and mythically treated in his fiction. Agrees with Kroetsch that in writing they both seem concerned with "a kind of spiritual return" to the west, "a coming back in the mind, a coming to some kind of terms with your roots and your ancestors and, if you like, with your gods." Laurence comments on the mythical quality in Kroetsch's work which comes across so clearly because the characters stand up so well on their own as real people. Both Kroetsch and Laurence stress the need which they both feel "to hear our story." As Kroetsch comments, "in a sense we haven't got an identity until someone tells our story. The fiction makes us real."

Cl13     Thomas, Clara. "A Conversation about Literature: An Interview with Margaret Laurence and Irving Layton." Journal of Canadian Fiction, 1, No. 1 (Winter 1972), 65-69. Essentially a conversation between Laurence and Layton which opens with Thomas' question concerning the universal quality of their work. Laurence suggests that there is a great deal in common between her Scots-Presbyterian background and Layton's Jewish one in a cultural Sense. In order to survive with the kind of environment created for them, strength, pride, and humour were necessary, and as Layton states, "the universal element is that of survival." Both speak of the need to come to terms with one's ancestral past and of the need "to record our mythology." Laurence comments that she feels that this is what she, Layton, and others have done, and that this is the sense in which Canadian literature reaches the universal, through being local. "Perhaps the writer's only way of getting at values and meanings which are able to reach out beyond their geographical boundaries is through portraying people in individual locales."

Cl14     Cameron, Donald. "Margaret Laurence: The Black Celt Speaks of Freedom." In Conversations with Canadian Novelists. Toronto: Macmillan, 1973, pp. 96-115. An important interview. Laurence speaks about having grown up in the prairies, "in a fairly stultifying community in some ways, and yet having coming from, on the one hand, Scots ancestors who certainly were extremely independent if not bloody-minded, and equally bloody-minded Irish ancestors." Remarks that she sees herself as writing a "Method novel." Like a Method actor, you get right inside the role. I take on, for the time I'm writing, the persona of the character, and I am trying to make a kind of direct connection with this person, not to manipulate but to listen to them." Believes that one of the main themes in all her writing "is this sense of man's isolation from his fellows and how almost unbearably tragic this is." With respect to the autobiographical nature of her work, Laurence comments that "the thing that is autobiographical is not the events, not the characters, but some of the underlying responses towards life." Also comments on the importance of the Bible, of a sense of history, and of her Presbyterian heritage in her writing. A broad, comprehensive discussion.

C115     Gibson, Graeme. "Margaret Laurence." In his Eleven Canadian Novelists. Toronto: House of Anansi, 1973,pp. 181-208. In this interview Laurence discusses the nature and form of the novel, the effect of the medium of film on writers of the past several decades, the writer's role in society, her working methods, the position of women as writers, and imagery in her work.

C116     Sheppard, June. "June Sheppard Talks with Margaret Laurence." Branching Out, Preview Issue (Dec. 1973),20-21. Brief, essentially biographical interview.

Cl17     Lever, Bernice. "Margaret Laurence, November 20,1974." Waves, 3, No 2 (Winter 1975), 4-12. Includes comments by Laurence on critical reactions to her work, symbolism, ecology, form in fiction, the women's liberation movement, idiom, and myth. Laurence discusses her sense of form in fiction: "If I could try to define it by a figure of speech, the kind of form which I like to try and get in a novel, as far as possible, is one that instead of being like a building with four walls, is more like a forest. It sort of opens out." Discusses as well the "spiritually autobiographical" nature of her work and the need for writers to give shape and form to our myths.

Cl18     Lever, Bernice. "Literature and Canadian Culture": An Interview with Margaret Laurence." Alive, No. 41 (1975), pp 18-19. ML. A discussion concerning the publishing industry in Canada, the role of government in supporting Canadian artists, and U. S. domination of Canadian publishing. Laurence also comments on the regional nature of much Canadian writing and on the need for Canadian writers to define our roots, our ancestors, our myths. Regarding the use of religious metaphor to delineate Canada's identity in literature Laurence says that, in her work, "there is a strong sense of the Old Testament which would be that stern quality of my ancestors," but there is also "the New Testament sense of hope."

Cl19     Boland, Viga. "Interview: Margaret Laurence--First Lady of Canadian Literature." Canadian Author and Bookman, 52 (Spring 1977), 3-8. The discussion covers a variety of topics including Laurence's working methods, her reactions to reviews, and her relationships with editors. Some attention is also given to the question of form in Laurence's fiction, which is fundamentally achieved through character. As Laurence states, "You must think of it in terms of character and find a form that best conveys that character."

C120     Law, Harriet. "Our Myths: Our Selves." Indirections, 2, No 2 (Winter 1977), 33-42. In this interview Laurence discusses children's literature, referring to her own experiences in writing Jason's Quest, sex-role stereotyping, and the reactions of high school students to The Diviners. Also comments on the quality of myth in The Diviners, the tension between imagination and cultural realities, the role of the small town in her fiction, and writers who have influenced her in some way.

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Part 2 Works on Margaret Laurence; Books, articles and sections of books, theses and dissertations, interviews, awards and honours; Theses and dissertations  

Warwick, Susan J. (compiler)

C121     Lee, Annie Hope. "Some Themes of Community and Exile in Six Canadian Novels." M.A. Thesis Toronto 1966. Includes an examination of The Stone Angel which traces Hagar's movement from spiritual and physical exile towards a sense of community and belonging. Stresses the importance of the relationship between individual freedom and social commitment.

C122     Broad, Margaret. "Margaret Laurence." M.A. Thesis McGill 1971. A general discussion of significant themes, techniques, images, and characters in Laurence's work up to A Bird in the House.

C123     Forman, Denyse Elaine. "Concepts of Personal Freedora in the Work of Margaret Laurence." M.A. Thesis Manitoba 1971. An analysis of the various contexts in which the idea of freedom is presented in Laurence's fiction. Political, social, and economic freedom is seen in relation to the quest for spiritual and psychological freedom on the part of every individual. Treats Laurence's African works as well as the early Manawaka novels, affirming the centrality of the theme of freedom throughout all her work.

C124     Gore, Leona. "The Manawaka Fiction of Margaret Laurence." M.A. Thesis Alberta 1971. A study of the first four Manawaka works which treats a wide range of topics. Discusses Laurence's sense of place, her creation of an internal and external geography for the fictional town of Manawaka, and the importance of the past in determining and shaping character. Also examines Laurence's handling of narrative voice and time, focussing particularly on the use of subjective time as memory.

C125     Darby, Clare Alexander. "The Novels and Short Stories of Margaret Laurence." M. A. Thesis New Brunswick 1972. A comprehensive treatment of Laurence's fiction, stressing recurrent themes and techniques. Traces Laurence's progression from the use of a conventional form in This Side Jordan to the experimental techniques of The Fire-Dwellers.

C126     Froese, Edna. "The Guilty Heroes in the Novels of Hugh MacLennan and Margaret Laurence." M.A. Thesis Saskatchewan 1972. An examination of the effects of Calvinism and its legacy on the novelistic characters of MacLennan and Laurence. Particular attention is paid to Hagar Shipley in The Stone Angel and Rachel Cameron in A Jest of God.

C127     Pell, Barbara Helen. "Margaret Laurence's Treatment of the Heroine." M.A Thesis Windsor 1972. A study of the first four of Laurence's Manawaka women, Hagar, Rachel, Stacey, and Vanessa, which includes analyses of their positions within their respective societies, of the narrative techniques used to tell their stories, and of their development as individuals within the bounds of their fictional worlds.

C128     Sokolowski, Thelma Karen. "The Theme of Exile in the Fiction of Margaret Laurence." M. A. Thesis Alberta 1972. An analysis of the themes of alienation and exile in Laurence's fiction which details their continuity from her African works to the Manawaka writings. The concept of exile is examined from a variety of perspectives, including the political, the social, and the spiritual, and emphasis is placed on the biblical sense of exile which runs throughout Laurence's work.

C129     Githae-Mugo, Micere M. "Visions of Africa in the Fiction of Chinua Achebe, Margaret Laurence, Elspeth Huxley and Ngugi wa Thiong'o." Diss. New Brunswick 1973. In its analysis of the visions of Africa as revealed in the works of these four writers, this study covers four major epochs: the traditional phase, the invasion and colonization of Africa by Imperial European powers, the struggle towards independence, and lastly, the era of "Freedom and After." Heavy emphasis is placed on the writers' personal backgrounds. While Laurence does not really cover the first phase, she touches certain areas of it while examining successive eras. Discusses political literature as a valid genre and as an artistically functional mode of expression.

C130     Long, Tanya. "The Heroine in the Novels of Margaret Laurence." M. Phil. Toronto 1973. An examination of the central female characters in Laurence's fiction from This Side Jordan to A Bird in the House. Attention is concentrated primarily on the Manawaka works.

C131     Birch, Frances Ann. "Principal Female Protagonists in the Novels of Brian Moore and Margaret Laurence." M. A. Thesis Toronto 1974. Compares and contrasts the presentation of the female protagonists in the work of Moore and Laurence, paying particular attention to the sense of entrapment of the female characters in the works.

C132     Janes, Kathryn. "Margaret Laurence: A Bibliography." M.A. Thesis San Jose State 1975. An annotated bibliography of Laurence's writing and selected critical commentaries on her work. Includes an introduction which contains biographical information and some discussion of Laurence's development as a writer.

C133     Kom, Dorothee. "Margaret Laurence's African Fiction: A Study of Cultural Contacts." M.A.Thesis Dalhousie 1975. A detailed study of This Side Jordan and The Tomorrow-Tamer. Examines the presentation of the relationship between natives and non-natives in both works, as well as the effects of Laurence's personal experience in Africa on her writing. Includes some discussion of A Tree for Poverty, The Prophet's Camel Bell, and Long Drums and Canons.

C134     Newman, Maureen A. "A Comparison of the Family Portrait Novels of Marie-Claire Blais and Margaret Laurence." M. A. Thesis Montreal 1975. Particular attention is paid to A Bird in the House and The Fire-Dwellers in this comparison of the work of Blais and Laurence. Discusses the manner in which Laurence treats relationships between family members and the continuity of family tradition, as well as the three-generation pattern in her work.

C135     Read, Pamela Mary. "Gardens of the Mind: Time and Memory in the Fiction of Margaret Laurence." M. A. Thesis Toronto 1975. An analysis of the handling of time and the memory process in Laurence's fiction which stresses the connection between theme and technique. The technique of retrospection is inseparably linked to Laurence's thematic concern with the past and its discovery and preservation.

C136     Auerbach, B. "Isolation and Acceptance in Selected Canadian Novels of Margaret Laurence." M A. Thesis McGill 1976. Emphasis is placed on The Stone Angel and A Jest of God in this study of the themes of isolation and acceptance in Laurence's work. Traces the movement of Laurence's characters from a position of loneliness and fear to one of belonging and understanding. Discusses the links between the societies in which they live, their backgrounds, and their experience of alienation and solitude.

C137     Lancaster, Miriam Ann. "Jacob and the Angel: A Study of Biblical Influences in the Work of Margaret Laurence." M. A. Thesis Victoria 1976. A comprehensive discussion of the biblical images, themes, and patterns in Laurence's writing from the early African works to the Manawaka novels. Comments on the biblical names of Laurence's characters, on the experience of exile in her fiction, on key images including those of the garden and the wilderness, and on the use of biblical language, especially in The Stone Angel.

C138     McQuaid, Catherine. "Female Characters in Margaret Laurence and Anne Hebert." M. A. Thesis Sherbrooke 1976. A comparative treatment of Laurence's Manawaka women and the female protagonists in Hebert's fiction. Attention is focussed on the techniques used by Laurence and Hebert to reveal the inner consciousness of their heroines, as well as on the similarities between the types of characters both have presented in their work.

C139     Sinclair, Lynn. "Time and Narrative Technique in Margaret Laurence's Manawaka Novels." M. A. Thesis McMaster 1976. A detailed examination of the correlation between Laurence's narrative style and her concept of time. Emphasis is placed on the thematic significance of the past, of history, in Laurence's fiction, and the bearing this has on the form and voice employed in each work.

C140     Tremblay, A. "Feminine Self-Consciousness in the Works of Margaret Laurence." M.A. Thesis McGill 1976. A study of the female characters in Laurence's fiction, emphasizing the way in which they view themselves and their positions within society. Discusses the conflict between individual needs and desires and social expectations in the minds of Laurence's female protagonists. Also comments upon Laurence's use of the first person narrative.

C141     Burns-McGrath, Mary. "The African Influence on the Novels of Margaret Laurence." M.A. Thesis Bishop's 1977. A detailed discussion of the effects of the years Laurence spent in Africa and of her reading of African literature on her own writing. Connections are established between the early African works and the later Manawaka novels, especially with respect to recurrent themes and images.

C142     Hall, Rod. "A Double Vision: A Study of Symbol and Imagery in Margaret Laurence's The Stone Angel and A Jest of God." M.A. Thesis McMaster 1977. A comprehensive inquiry into the significance of the central symbols and image patterns in The Stone Angel and A Jest of God. Attention is paid to both the Biblical and the secular aspects of Laurence's symbolic structure, as well as to the diversity of the images used in each novel.

C143     Humble, Deborah Lynne. "Analysis of Margaret Laurence's Fiction, Centering on Formal Patterns such as Themes, Narrative Techniques and Irony." M.A. Thesis Regina 1977. In this general examination of Laurence's fiction, important themes and techniques, including the significance of tradition and the use of the first person narrative voice, are discussed. Provides an overview of Laurence's major works.

C144     Kuropatwa, Joy. "Time in Margaret Laurence's The Diviners." M.A. Thesis Manitoba 1977. A detailed exploration of Laurence's treatment of nine in The Diviners. Discusses the concept of time in relation to both the structure and the themes, stressing the interdependence of the two. Accords close attention to the importance of memory, individual, ancestral, and historical, in the lives of Laurence's characters in The Diviners.

C145     Lynch, P. "Narrative Voice and Tense in Margaret Laurence." M.A. Thesis New Brunswick 1977. The structural and thematic significance of Laurence's choice of narrative voice and tense is analyzed in this study of Laurence's fiction. The discussion takes as its focus the complex time structure of Laurence's later work and the manner in which voice is manipulated to establish and reinforce the temporal framework of each work.

C146     Mortlock, Melanie D. "The Religion of Heritage (Margaret Laurence)." M.A. Thesis Windsor 1977. This study centres on an examination of the importance of history, both personal and collective, in Laurence's fiction. Relates Laurence's choice of narrative voice, her use of symbol and imagery, and the time scheme of each novel, to the thematic significance of history and heritage.

C147     Sartiloit, Claudette Eva. "The Artist Figure in the Work of Margaret Laurence and Gabrielle Roy." M.A. Thesis Saskatchewan 1977. A comparative examination of Laurence's The Diviners and Roy's The Hidden Mountain and their respective portraits of the Artist.

C148     Therrien, Giles. "Form and Content In The Diviners by Margaret Laurence and in Kamouraska by Anne Hebert." M.A. Thesis Montreal 1977. A detailed discussion of the relationship between form and content in The Diviners and Kamouraska. Explores the manner in which Laurence and Hebert handle the technique of retrospection to structure their novels and to explore their central themes. Examines Laurence's use of the first and third person narrative voices in The Diviners, as well as her handling of the past and present tenses.

C149     Packer, Miriam "Beyond the Garrison: Approaching the Wilderness in Margaret Laurence, Alice Munro and Margaret Atwood." Diss. Montreal 1978. A comprehensive examination of the garrison-wilderness concept in the work of Laurence, Munro, and Atwood. Particular attention is given to image patterns in the works of all three writers which serve to define and delineate their central themes. Discusses the small-town Manawaka environment and its effect on character in Laurence's work, and the movement each of Laurence's main characters makes away from the restrictions of that environment. Comments on the manner in which all of Laurence's characters come to terms with their pasts, and their inheritances.

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Part 2 Works on Margaret Laurence; Selected book reviews; A Bird in the House  

Warwick, Susan J. (compiler)

D52      Callaghan, Barry. "A Cold Universe" Toronto Telegram, 28 Feb. 1970, p 63. Although the stories are "accomplished" and "have a coherent point of view," the collection reveals "a poverty of spirit." The scope of emotions she describes is decidedly narrow and many of her characters are no more than stereotypes." A negative evaluation.

D53      Sypnowich, Peter. "Margaret Laurence: A Puritan Childhood." Toronto Daily Star, 28 Feb 1970, p. 69. Sees in the collection "an unfortunate preoccupation with tradition, convention and authority." Laurence's prose is nearly flawless, but the book is not credible. Feels that the "characters are shuffled to suit the author's purpose." A negative review.

D54      Weeks, Edward. Rev. of A Bird in the House. Atlantic Monthly, March 1970, p 144. Praises Laurence's skill in meshing the child's perspective with the adult's in the collection. Laurence possesses "the quiet sort of genius needed to write about what at first glance seems to be the commonplace." A brief, favourable review.

D55      French, William. "Coming of Age in Manawaka." Thc Globe Magazine, 14 March 1970, p 15. "Rarely has the process of growing up been described with such skill and insight." Laurence's style is "totally authentic, free of artifice and of any straining for effect." Praises Laurence's "facility for making uncommonly good stories out of commonplace events."

D56      Thompson, Kent. Rev. of A Bird in the House. The Fiddlehead, No. 84 (March-April 1970), pp. 108-11. ML. Admires Laurence's skill in creating a "wholebook" out of a series of short stories. "The significance of the story is as much in the telling as in the story" and the narrator's voice is of final importance in the collection. A careful, detailed assessment of the form and subject matter of the work.

D57      Tracy, Honor. "Growing Up in Manawaka." New York Times Book Review, 19 April 1970, p. 40. "Laurence seems wearied by her material" and nothing very much happens in the stories. The collection contains "frequent bursts of jewelled prose" and "make-weight descriptions." Faults the failure to edit the stories before issuing the collection. A negative, but sympathetic, review.

D58      Kattan, Naim. "L'enfance et l'adolescence manitobaines de Margaret Laurence." Liberte,July-Aug 1970, pp 85-87. Emphasizes the work's Puritan and pioneer spirit. "Le monde que nous decrit Margaret Laurence est restreint, limite, rigide," yet this is not "un livre de disenchantement." "Margaret Laurence nous permet de les connaitre, de les comprendre et de commencer meme a les aimer." A favourable review concentrating on character and theme.

D59      Dobbs, Kildare. "A Certain Relish for Tears." Saturday Night, Aug 1970, pp 26-27. Describes the book as "a Canadian portrait of the artist as a young girl." Discusses the themes of death and disillusionment which permeate the work. A generally positive review.

D60      Kirkwood, Hilda. Rev of A Bird in the House. The Canadian Forum, Sept 1970, pp 221-22. Discusses the book in relation to Laurence's earlier work. Describes Vanessa as "the camera's eye" and sees the collection as an exploration of the "tragic-comic" nature of family life. Notes that with the exception of Grandfather Connor, the males only make "offstage noises." A favourable evaluation in most respects.

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Part 2 Works on Margaret Laurence; Selected book reviews; A Jest of God  

Warwick, Susan J. (compiler)

D28      Hall, Joan Joffe. "Prison of the Self." Saturday Review, 27 Aug 1966, p. 29. Praises the authenticity of Rachel's voice and the novel's "extraordinary clarity and beautiful detail." Nonetheless, contends that the book is narrow and that the first person narrative "accentuates the novel's limitations." "Rachel herself, however, is superb and movingly human." A balanced evaluation.

D29      Fulford, Robert. "A Painful Life in a Prairie Town." Toronto: Dady Star, 30 Sept 1966, p. 21. Views the book as a "painful book in many ways," but does assert that it is "a minor triumph. "Praises the handling of the relationship between Rachel and Nick. Much of the review is focused on the depiction of Manawaka. Laurence, in having Rachel leave Manawaka, shares with other prairie writers the theme of "movement away" from the prairie world. A generally favourable review which broaches a number of issues worthy of detailed analysis.

D30      Bannerman, James. "The Passion of a Prairie Spinster." Maclean's, 1 Oct 1966, p 55. A brief, favourable review which commends Laurence's style and her treatment of character. Rachel is "a complex human being" whose needs are imaginatively revealed and not literally described.

D31      Duffy, Dennis. "Critical Sympathies." The Tamarack Review, No. 42 (Winter 1967), pp. 80-82. Only Laurence's prose style and her description of character save Rachel from becoming "a dull subject." A mixed response to the book, emphasizing Rachel's limitations as the central character.

D32      Harlow, Robert. "Lack of Distance." Canadian Literature, No 31 (Winter 1967), pp 71-72, 74-75. ML. "The cosmic joke promised by the title, the technique and the bare-bones narrative structure is never delivered." The novel lacks "objectivity, distance, irony" and the secondary characters suffer as a result. Generally unfavourable.

D33      Stedmond, J. M. Rev. of A Jest of God. University of Toronto Quarterly, 36 (July 1967), 382-83.The novel is more narrow in scope than The Stone Angel, but Laurence's treatment of Rachel's consciousness is "a triumph." Favourable.

D34      Rosengarten, H. J. "Inescapable Bonds." Canadian Literature, No. 35 (Winter 1968), pp. 99-100. ML. A response to Robert Harlow's review. "The drama of Rachel's struggle and failure is played out entirely within her consciousness, but the narrowness of the point of view does not limit the novel's meaning." Rachel is "both ironist and victim," and ironic distance is achieved through Laurence's presentation of Rachel's internal conflicts.

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Part 2 Works on Margaret Laurence; Selected book reviews; A Tree for Poverty  

Warwick, Susan J. (compiler)

D1       Wiseman, Adele. "Somali Literature." Queen's Quarterly, 62 (Winter 1956), 610-11. "The essentials and the experience of living" themselves are given expression in these translated poems and folktales. Discusses the oral tradition in Somali literature and Laurence's reasons for collecting and translating it. Favourable.

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Part 2 Works on Margaret Laurence; Selected book reviews; Heart of a Stranger  

Warwick, Susan J. (compiler)

D81     Fulford, Robert. "Canadian Nationalist Is World Citizen Too." Toronto Daily Star, 25 Sept. 1976, p. H5. Notes that Laurence's non-fiction is much like her fiction. In both she "focusses on small, sharp incidents but arranges them in such a way that they resonate deeply in the mind of the reader." A generally favourable review stressing Laurence's cosmopolitanism.

D82     Freedman, Adele "The Once and Future Past of Margaret Laurence." Saturday Night, Nov 1976, pp.49-50. Suggests that the essays are firmly threaded together by Laurence's insistent philosophy, and are all episodes in "the Great Canadian Odyssey." "Her obsession with the past and her prickly sensitivity to the interface between Today and Yesterday make for marvellous ironic dyslexia."

D83     Swayze, Walter. "Less a Stranger" The Canadian Forum, Feb 1977, pp. 54-55. The book "gives us a deepened insight into the heart of Margaret Laurence and a more just perspective on her major fiction." Sees Laurence looking in two ways in these essays - "presenting direct statements of concerns, characters, hypotheses" which have been fully articulated in her fiction, and presenting "fresh insights that have come from the author's getting to know her own self and her universe through the experience of getting to understand her own fictional characters."

D84     Dixon, Michael. Rev. of Heart of a Stranger. University of Toronto Quarterly, 56 (Summer 1977), 477-79. A thoughtful interpretation of the essays which emphasizes Laurence's concern with "the revelation of our common humanity." Sees as the collection's overriding theme the concept of "home." "`Home' as a locus of individual, social, and mythic identity, is both the defining vision at the heart of Laurence's 'stranger' and the unifying focus at the core of this diverse collection."

D85     Rev. of Heart of a Stranger. Publishers' Weekly, 12 Sept. 1977, pp. 124-25. A brief review which notes the way in which Laurence's understanding of other people and other cultures helps her to understand herself. The collection is "a joy."

D86     Moses, Richard. Rev. of Heart of a Stranger. Library Journal, 15 Dec. 1977, p 2501. Reviewed along with Gabrielle Roy's Enchanted Summer. States that the collection is somewhat uneven if one is seeking significance, but in toto it provides much insight into the country and its people."

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Part 2 Works on Margaret Laurence; Selected book reviews; Jason's Quest  

Warwick, Susan J. (compiler)

D61      Rev of Jason's Quest. Publishers' Weekly, 1 June 1970, p. 66. Describes the book as "an unpretentious fantasy." Praises Laurence's story-telling ability for its lack of archness and for its avoidance of "the pitfalls of animals-that-talk stories."

D62      Goldsborough, Diana. Rev. of Jason's Quest. Toronto Daily Star, 20 June 1970, p. 59. Reviewed along with several other children's books. The story is a "tedious disappointment." It is one of those "English whimsical animal books where the characters say things like 'Do shut up' and 'Now, luv.'" An entirely negative review.

D63      Lunn, Janet. "Boys, Seals, Wolves, Moles and a Girl with Big Feet." The Globe and Mail, 27 June 1970, p. 17. Provides a brief summary of the book and states that though Laurence writes well, she seems ill-at-ease. "Story, style and setting out-English the English of a generation ago." Reviewed along with other children's books.

D64     Thomas, Clara. "Bashing On." Canadian Literature, No. 50 (Autumn 1971), pp. 88-90. Summarizes the story and suggests that it is "a fantasy firmly built on the quest theme." Believes that the book holds appeal for both children and adults. Provides some biographical information related to the story's setting and inspiration.

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Part 2 Works on Margaret Laurence; Selected book reviews; Long Drums and Canons  

Warwick, Susan J. (compiler)

D35      "Ways into Africa." Times Literary Supplement, 2 Jan. 1969, p 8.This is a "welcome book because it looks at African literature basically from the outside" and with a "refreshingly new eye." Regrets the omission of poets from the volume and contends that Laurence's information is sometimes inaccurate. Nonetheless, views the work favourably.

D36      Piquefort [Dave Godfrey] "Long Drums and Canons and Ilyushins." The Canadian Forum, Feb 1969, p 249. Commends Laurence's format and her explication of the works under discussion. Laurence successfully combined the analysis of form and technique with the study of meaning. A positive assessment, though it is suggested that Laurence is not quite "at ease with the poetic."

D37      Boxill, Anthony. Rev. of Long Drums and Canons. The Fiddlehead, No. 80 (May-July 1969), pp. 105-06. This is a valuable book for its Canadian perspective on Commonwealth literature. Notes the strength of Laurence's explications, but does not feel it is "an academic treatment" of the subject for Laurence is sometimes "too kind a critic." Nonetheless, the work achieves its stated intention.

D38      Thomas, Clara. "Ascent and Agony." Canadian Literature, No 42 (Autumn 1969), pp. 91-93. The plot summaries are justified by the fact that Nigerian Literature is not readily available in western countries. Praises Laurence for allowing the writers being discussed to take centre stage. A favourable review, stressing Laurence's familiarity with her subject.

D39      Carroll, David. Rev. of Long Drums and Canons University of Toronto Quarterly, 40 (Summer 1971), 359-60. The work would have been more valuable if Laurence had concentrated more on ideas, and less on plot summaries. Sees the work as somewhat limited in scope, but admires Laurence's "down-to-earth and sympathetic" critical attitude.

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Part 2 Works on Margaret Laurence; Selected book reviews; The Diviners  

Warwick, Susan J. (compiler)

D65     Grosskurth, Phyllis. "A Looser, More Complex, More Sexually Uninhibited Laurence: And Never an Atwood Victim." The Globe and Mail, 4 May 1974, p. 35. This is the most complex novel Laurence has written and it reveals a "radically new approach." In The Diviners there is "a loosening up of language and attitude." Describes Manawaka as "a lost Eden," despite its "narrowness and ugliness" and stresses Laurence's "deep sense of a tribal society." A perceptive interpretation and assessment of the novel.

D66     Fulford, Robert "It's Fascinating Despite the Flaws." Toronto Daily Star, 18 May 1974, p H5. Objectively discusses the novel's achievements and its failures. Believes that in terms of structure and style The Diviners is "the least impressive of all the Manawaka works" and that certain sections of it seem expendable. On the positive side, emphasizes Laurence's skill in working out the novel's numerous themes and her creation, in Morag Gunn, of a tough and believable character. A balanced and considered evaluation which recognizes that "the putting-together process is both substance and theme."

D67     Bruce, Phyllis. Rev. of The Diviners. The Canadian Forum, May-June 1974, pp. 15-16. A perceptive and scholarly discussion of the novel's form and Laurence's presentation of Morag as artist. Describes Morag's created memories as becoming both "dichtung and wahrheit" for her. Sees in the novel an emphasis on the power of the creative imagination "to redeem the apparent chaos of human experience."

D68     Weeks, Edward. "The Peripatetic Reviewer." Atlantic Monthly, June 1974, pp 108-09. Provides a summary of the novel's major events and themes. The critical analysis of the novel is confined to a discussion of Morag's presentation. A favourable, but casual, commentary.

D69     Bevan, Allan. Rev. of The Diviners. The Dalhousie Review, 54 (Summer 1974), 360-63. ML. An extremely detailed and perceptive review which touches on many of the novel's themes and elements of its style. Discusses the role of the artist, the importance of the past, the time sequences, and the unity of the Manawaka vision. "The Diviners, a complex and skillfully constructed novel with a beautifully conceived central character, is at least as good as any of the earlier novels."

D70     Lever, Bernice. "Manawaka Magic." Journal of Canadian Fiction, 3, No. 3 (Summer 1974), 93-96. Discusses Morag in relation to Laurence's other female protagonists who all reveal "both mythic and existential implications." Essentially thematic in nature, the review makes extensive use of quoted material to analyze Morag's character and growth. A positive evaluation.

D71     MacSween, R. J. "The Diviners." Antigonish Review, No. 18 (Summer 1974), pp 107-08. Stresses Laurence's sense of place, her relaxed style, and her view of life which is "large yet intimate." States that it is a beautifully produced volume and possesses many of the qualities of a masterpiece. Likens it in some respects to The Stone Angel.

D72     Piercy, Marge. "Gritty Places and Strong Women." New York Times Book Review, 23 June 1974, p. 6 ML. The novel's "parts remain stronger than the whole." "The strength and zest of the book are in the 'Memorybank Movies' of Morag's orphaned childhood in Manawaka." Argues that Morag as writer ends up "vaguely romanticized" and that Laurence handles the mother-daughter relationship with greater skill. A somewhat equivocal review which stresses Laurence's failure to reveal adequately Morag's artistic development.

D73     Frank, Sheldon. Rev. of The Diviners. New Republic, 27 July 1974, p 28. A limited review which concentrates on plot summary and details of Laurence's life. Feels that there is a "continuing melodramatic flaw" in all of Laurence's work. Describes Morag as "the first female character to surprise us."

D74     Kattan, Naim. "L'ambitieux roman de Margaret Laurence." Le Devoir, 27 July 1974, p. 13. Views the novel as Laurence's most ambitious and complex work. Emphasizes her concern with both Morag's individual past and the historical-cultural present. "Elle ne se tourne plus ver le passe pour le fixer, elle y cherche une dimension du present." The novel is seen to suggest "que l'empreinte de l'histoire soit revellee et assumee." A favourable and thoughtful reading of the novel.

D75     Lever, Bernice. Rev. of The Diviners. Canadian Author and Bookman, 50 (Fall 1974), 26. In this very brief review, Laurence's gift for characterization is stressed. Also notes the "unique, apt imagery which supports and enriches" the novel's themes and Laurence's true ear for dialogue. A favourable review.

D76     Thomas, Audrey. "A Broken Wand?" Canadian Literature, 62 (Autumn 1974), 89-91. A somewhat negative assessment which is fundamentally concerned with the presentation of Morag. Reviewer suggests that the struggle to achieve artistic excellence is not accorded adequate emphasis by Laurence in her treatment of Morag.

D77     Gotlieb, Phyllis. Rev. of The Diviners. The Tamarack Review, No. 63 (Oct. 1974), pp. 80-81. A detailed discussion of the imagery and language of the novel. Sees Morag's development as an attempt "to resolve her identity as a diviner working with words--a medium as unstable as water." Discusses the treatment of character in the novel.

D78     Cameron, B. Rev. of The Diviners. Queen's Quarterly, 81 (Winter 1974), 639-40. Places the novel in the tradition of the Bildungs-roman and suggests that "the fictionalizing of experience is a necessary part of being human." Stresses the existential nature of Morag's search for her place in the continuity of time and for grace. The novel is "the epitome of Laurence's thematic and rhetorical concern as a writer."

D79     Mickelburgh, Brita. Rev. of The Diviners. The Fiddlehead, No. 104 (Winter 1975), pp 111-14. Offers some interesting comments on the narrative technique of the novel and on its symbolism. Discusses the theme of divining as it relates to Morag as writer and draws an interesting analogy from Dante's Inferno.

D80     Stouck, David. Rev. of The Diviners. The West Coast Review, 10, No. 1 (June 1975), 44-46. The Diviners is a much stronger book than any Laurence has written before for here she "seems to recognize human personality as a mystery, with no easy explanation." Suggests that the novel's techniques enhance this recognition of the "unknowable." "Meaning as such is recognized to be mythic and fragmented, and is reflected in the importance of songs, mottoes, tales." Sees in the work an implicit questioning of the value and efficacy of art. A perceptive and detailed evaluation.

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Part 2 Works on Margaret Laurence; Selected book reviews; The Fire-Dwellers  

Warwick, Susan J. (compiler)

D40      Sypnowich, Peter. "A True, Middle-class Heroine." Toronto Daily Star, 29 April 1969, p. 28. A highly caustic review describing the novel as "exasperating" in most respects. Emphasizes character presentation, especially Laurence's portrait of Stacey, and does not consider the novel's form or technique. "Stacey MacAindra, modern middle-class heroine: She has everything, knows everything and does nothing. Dead at 39." A limited and shallow reading of the novel.

D41      Engel, Marian. "The Girl Who Escaped Manawaka is at the Core of Margaret Laurence's New Novel." Saturday Night, May 1969, pp 38-39. Novel reveals the "banality of middle-class family life," yet Stacey, like the other women in Laurence's work, reveals both "richness and determination." Stacey "comes alive as a Manawakan rebel." Reviewer focuses on Laurence's handling of her female characters and does not discuss form or technique in any detail.

D42      French, William. "A Compassion for Flesh and Blood." The Globe Magazine, 3 May 1969, p 17. A perceptive review which acknowledges the novel's strengths and weaknesses. Sees Stacey as an ordinary individual who becomes extraordinary in Laurence's hand. The novel's major flaw lies in the depiction of several minor characters who become overtly symbolic.

D43      Sykes, Peter. Rev. of The Fire-Dwellers. Maclean's, June 1969, p 98. Describes Stacey as "one of the first contemporary women in Canadian fiction." Praises Laurence's handling of the contrast between Stacey's inner voice and her actual voice. Feels that the story is "flawed by inconclusiveness," but then suggests that this is in keeping with Stacey's acceptance of life as it is. A generally favourable review.

D44      Weeks, Edward. Rev. of The Fire-Dwellers. Atlantic Monthly, June 1969, pp. 112-13. "Laurence is the best fiction writer in the Dominion and one of the best in the hemisphere." It is "Stacey's indomitable wrath" that saves the novel from dreariness. Commends Laurence's use of the "continuous present" and her revelation of Stacey's mind "in a swift-flowing stream of dialogue, reaction, reproach and nostalgia." A thoughtful, positive review.

D45      Watt, Frank W. Rev. of The Fire-Dwellers The Canadian Forum, July 1969, p. 87. ML. "This book contains flaws enough to sink half a dozen books by lesser known novelists. It survives because of the vitality of its central character." Sees the characters surrounding Stacey as "shadowy" and the shifts to third person narration as revealing a "lack of artistic rigour."

D46      Tracy, Honor. "In Vancouver, Stacey Found That Richalife Had Its Drawbacks." New York Times Book Review, 3 Aug 1969, p. 30. A rich and complex work dealing with such themes as the urban rat-race and modern marriage. Argues that the "excellent writing is an exhilaration in itself: otherwise The Fire-Dwellers would leave many of us in pretty low spirits." Sees Stacey as both a fully developed individual and as a symbolic "Everywoman of today."

D47      Kattan, Naim. "Une femme de Quarante ans." Le Devoir, 13 Sept. 1969, pp. 14, 16. ML. A lengthy and erudite review which offers an existential reading of the novel. Writes that "la vie des MacAindra se deroule sans grand drame," and that the world Laurence creates evokes a sense of "une profonde tristesse, un mal indechiffrable." Ce sont des personages simple et leur courage est quotidien."

D48      Thompson, Kent. Rev. of The Fire-Dwellers. The Fiddlehead, No. 82 (Nov.-Dec 1969), pp 72-73. Laurence is "perhaps the finest Canadian novelist." Discusses and commends Laurence's prose style and her presentation of Stacey. Suggests that the theme of the novel is that of endurance.

D49      Spettigue, D. O. Rev. of The Fire-Dwellers. Queen's Quarterly, 76 (Winter 1969), 722-24. A favourable review stressing the universality of the novel. Describes Stacey as "Everyhousewife" and as revealing "the solitary self" in every human being.

D50      Grosskurth, Phyllis. "Wise and Gentle." Canadian Literature, No. 43 (Winter 1970), pp. 91-92. ML. "Laurence's major accomplishment in this novel is to make Stacey's inner and outer lives inextricably connected." Sees the wider vision of the novel's conclusion as being "somewhat arbitrarily imposed as an artistic solution." Generally favourable.

D51      Mitchell, Beverly, S. S. A. Rev. of The Fire-Dwellers. Journal of Canadian Fiction, 2, No. 4 (Fall 1973), 112-14. Reviews The Fire-Dwellers along with four other novels. Briefly discusses the variety of narrative methods employed in the novel. Favourable.

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Part 2 Works on Margaret Laurence; Selected book reviews; The Prophet's Camel Bell  

Warwick, Susan J. (compiler)

D12      "On the Colonial Heritage." Maclean's, 19 Oct 1963, pp. 81-82. Maintains that Laurence does not see the Somalis or the Europeans as "objects or symbols." The work addresses the issues of colonialism and racism with objectivity and humanity.

D13      Kirkwood, Hilda. "Place of Meeting." The Canadian Forum, Feb. 1964, p. 259. Discusses the "human and sociological" aspects of the work. Praises Laurence's ability to avoid pronouncing judgement on cultural practices foreign to her. A favourable, explicatory review.

D14      Goldsborough, Diana. "Inside Somaliland." The Tamarack Review, No.31 (Spring 1964), p 98. A brief review which focusses on Laurence's presentation of the Europeans in Somalia who are compared to Kipling's Imperialists. Failure to deal in any detail with the work's treatment of the Somali people undermines the value of the review.

D15      Miller, Charles. "Weathering the Wind of Change." Saturday Review, 13 June 1964, pp. 33-34. "A small masterwork of perception, humor and love." Much of the review is devoted to the Somalis and their literary accomplishments. An extremely favourable review.

D16      Carter, G. M. "At Home with Nomads." New York Times Book Review, 28 June 1964, pp 6-7. "Certainly no one else has ever pictured the Somali nomads so vividly or with so sympathetic and understanding a touch." Commends the clarity and beauty of Laurence's language and her story-telling ability. Offers a number of comments regarding the autobiographical significance of the work.

D17      Blackman, E W. "Letters in Canada." University of Toronto Quarterly, 33 (July 1964), 431-32. Provides a summary of the book and praises it for its sincerity and lack of pretension. A short, but positive, evaluation stressing the effect the years spent in Africa had on Laurence's perceptions and opinions of both the Somali culture and her own native culture.

D18      Girling, H. K. "Travel." Queen's Quarterly, 71(Autumn 1964), 456-57. A rather ambiguous review which centres upon a questioning of the results of "interference in alien lives." Seems to question the value of "travel" and participation in a foreign environment and culture.

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Part 2 Works on Margaret Laurence; Selected book reviews; The Stone Angel  

Warwick, Susan J. (compiler)

D19      Weaver, Robert. "Crowning Angel." Toronto: Daily Star, 23 May 1964, p 28. A favourable review which concludes that The Stone Angel is "a densely imagined, ingeniously constructed and freely mature work of fiction." Expresses admiration for the manner in which Hagar's life is presented. Maintains that Laurence rejects a heavily sociological approach, but is still able to capture the feeling of an age now past.

D20      Hicks, Granville. "Neighbor to the North Makes News." Saturday Review, 13 June 1964, pp. 25-26. ML. Provides a summary of the novel and describes it as "admirably written and sustained by unfailing insight." Also discusses The Tomorrow-Tamer.

D21      Montagnes, Anne. "Piercing Canadian Symbol." The Globe and Mail, 13 June 1964, p. 17. Hagar is "a piercingly engaging character who stands as a symbol of Canada." Laurence has "struck to the central conflict of Canadian psychology, our bondage to a puritan heritage." A favourable review, but some disappointment is expressed about "the ends being so neatly tied" at the novel's conclusion.

D22      Tracy, Honor. "A Writer of Major Talent." New Republic, 20 June 1964, pp. 19-20 ML. A favourable assessment stressing the novel's "consistency of character and unity of mood." Laurence "gives us a portrait of a remarkable character and at the same time the picture of old age itself." The novel's only flaw is several "over-lyrical" passages.

D23      H. T. K. "A Bleak Soul." The Canadian Forum, Aug 1964, p. 117. A "devastatingly" truthful picture of a Canadian prairie woman. Novels lacks "the colour, humour, and grace" of Laurence's African work, but it is nonetheless a powerful book. A generally favourable assessment.

D24      Kattan, Naim. "Margaret Laurence L'Ouest canadian sans voiles." Le Devoir, 29 Aug 1964, p 14. ML. Biographical information on Laurence's life and work is given. The Stone Angel is a novel "de la solitude et de l'absence." "Margaret Laurence demystifies l'Ouest et nous le revele sous un visage anemique et triste."

D25      Godfrey, Dave. "For Bonfires/For Burning." The Tamarack Review, No. 33 (Autumn 1964), pp. 92-94. Praises the novel's powerful prose and its "good, hard insights." Maintains that many aspects of the work are authentic with respect to Canada's cultural heritage. A favourable, detailed, and perceptive review.

D26      Graham, Angela. "Hagar Shipley." Alphabet, No. 10 (July 1975), pp. 85-86. "Written from the difficult first person point of view, this novel is skillfully done." Provides a brief summary of the novel and discusses Laurence's descriptive ability and her handling of character.

D27      Watt, Frank W. Rev. of The Stone Angel. University of Toronto Quarterly, 34 (July 1965), 373-75. The novel's excellence is revealed in the apparent discrepancy between Hagar's expressive mental life and her narrow "cranky" exterior. Explores the way in which "memory and desire" are mixed in Hagar's narrating consciousness.

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Source: Part 2: Works on Margaret Lawrence. Warwick, Susan J. (compiler); Toronto, Ontario : ECW Press, 1979, pp. 57-101

Part 2 Works on Margaret Laurence; Selected book reviews; The Tomorrow-Tamer  

Warwick, Susan J. (compiler)

D6       "African Crosscurrents." Times Literary Supplement, 25 Oct 1963, p. 869. Sees the book's dominant theme as "how minds, secure and stable against their background of primitive culture, are wrenched out of gear by the swift spread of the glittering materialism of Europe." Admires the stories' colour, richness of texture, and buoyancy.

D7       French, William. "Colourful Tales of Modern Africa." The Globe Magazine, 1 Feb. 1964, p 14. Laurence is "one of the best non-African writers anywhere in the world to deal with Africa." Commends the descriptions of place and people and states that the stories are never "banal or monotonous." Several interesting thematic interpretations of selected stories.

D8       Godfrey, Dave. "Figments of the Northern Mind." The Tamarack Review, No. 31 (Spring 1964), pp 92-93. Based on his own experiences of Africa, asserts that the book's characters are authentic. Stories reveal both "the objectivity coming from study of a foreign culture" and Laurence's personal involvement with that culture.

D9       Percy, H. R. Rev. of The Tomorrow-Tamer. Canadian Author and Bookman, 39 (Spring 1964), 10. Laurence has done much to correct the false picture of Africa advanced by reporters and U.N. forces. The Tomorrow-Tamer reminds us that "humans, not ideologies, are Sacred."

D10      Kirkwood, Hilda. "The Compassionate Eye." The Canadian Forum, July 1964, p 94. Describes Laurence's writing as unpretentious and offers a comparison of Laurence's stories and those of Ethel Wilson. Interprets several stories as reflections of the theme of modern technology's influence on tribal life. Favourable.

Dll      Watt, Frank W. Rev. of The Tomorrow-Tamer. University of Toronto Quarterly, 34 (July 1965), 375-76. Commends Laurence's vision of Africa for its complexity and understanding, but believes that some stories are less successful than others. In the least successful pieces Laurence's message is too blatantly presented.

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Source: Part 2: Works on Margaret Lawrence. Warwick, Susan J. (compiler); Toronto, Ontario : ECW Press, 1979, pp. 57-101

Part 2 Works on Margaret Laurence; Selected book reviews; This Side Jordan  

Warwick, Susan J. (compiler)

D2       "Muddling into Maturity." Times Literary Supplement, 4 Nov. 1960, p 705. ML. Laurence's subject (race relations)is one that does not allow for much development. Amegbe is the most interesting character, and Ketsoe, the least convincing. A mixed, but superficial, evaluation.

D3       Renault, Mary. "On Understanding Africa." Saturday Review, 10 Dec. 1960, pp. 23-24. ML. "A first novel of rare excellence." Commends Laurence for avoiding a simplified presentation of racial tension. Links the novel with E. M. Forster's work. Emphasizes the novel's sociological insights and themes.

D4       Dobbs, Kildare. "Outside Africa." Canadian Literature, No. 8 (Spring 1961), pp 62-63. "Terse and vivid," but boring. Characterizations are flawed in that they are built from the "abstractions of social science." The novel's conclusion is stilted and contrived.

D5       Watt, Frank W. Rev. of This Side Jordan. University of Toronto Quarterly, 30 (July 1961), 406-07. Although the novel's pattern seems confused at times, this is compensated for by an "abundance of experience, imaginative energy and resourcefulness. Expresses uncertainty as to whether the mood at the novel's end is hopeful or ironic. Attributes the novel's weaknesses to Laurence's inexperience.

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Source: Part 1: Works By Hugh MacLennan. Cameron, Elspeth (compiler); Toronto, Ontario : ECW Press, 1979, pp. 104-126

Hugh MacLennan An Annotated Bibliography; Introduction  

Cameron, Elspeth (compiler)

Hugh MacLennan is best known for his enduring interest in Canada's national character -- a character he helped form to a considerable extent through his writings. His education consisted of an ever-widening circle of experience, begun in Cape Breton, Nova Scotia, and whtch eventually included parts of England, Germany, Italy, Russia, and the northeastern United States. Returning to Canada in the mid-thirties, MacLennan was able to view contemporary national events afresh, somewhat in the way James Joyce was able to see Ireland clearly only after he had left it. Indeed, MacLennan later rephrased Joyce's famous statement to apply to his own career when he claimed "not so much... to forge the uncreated conscience of his race as to reforge a conscience that has been fragmented."

MacLennan's first two novels, both set outside Canada, were never published; so, he chose a more modest local theme -- that of the Halifax explosion in 1917 -- for his first published novel, Barometer Rising. The success of this shift from international to national focus formed the foundation of his theory that Canada in her art must now both set the stage and play her dramas to the world at large. Thus the pubhcation of Barometer Rising in 1941 and the essays about Canada which were collected eight years later in Cross-Country marked a new phase in the development of Canadian literature. MacLennan initiated a new artistic treatment of Canada in which, as Hugo McPherson states, "Canadian identity was not a matter of patriotism but a fact of geography and experience." The favourable response to these early works, especiallly that of the influential American critic, Edmund Wilson, encouraged MacLennan to continue to explore national themes and settings from a peculiarly Canadian point of view in his subsequent work.

It would be wrong, however, to call MacLennan's novels and essays "regional." Although Two Solitudes (1945) deals specifically with the Quebec situation, The Precipice (1948) with small-town Ontario, and Each Man's Son (1951) with Cape Breton's mining community, each of these novels moves outward from a specific region to consider, respectively, the period of rapid transition instigated by World War I, the contrast between American and Canadian brands of puritanism, and the effects on the human soul of Calvinism wherever it is found. "I have always seen Canada as a part of the history of the world," MacLennan has stated, and with his last two novels to date, The Watch That Ends the Night (1959) and Return of the Sphinx (1967), he has increasingly moved in the direction of the universal themes which arise from local political, social, and human history. Because his themes transcend their individual settings, he is the most widely and most successfully translated Canadian novelist today.

Despite the outward trappings of success, critics have long debated the merit of MacLennan's work. While many have continued to express the high admiration initiated by Edmund Wilson, others have contended that the heavily didactic nature of MacLennan's fiction has resulted in the stereotyping of characters, the substitution of his own voice for those of his characters, and the "old-fashioned" techniques of Victorian fiction in narrative and structure. As one critic put it, "seriousness and decency do a very good job as proxy for art." There has always been, however, unanimous praise for MacLennan's skill in descriptive writing, whether of episode, action, or natural landscape.

MacLennan's essays, in contrast to the novels, have more consistently elicited an excited response from critics. In them, MacLennan deals with a wide variety of subjects drawn from his varied experiences in such a way that we feel his humanity -- a civilized mind, an impish humour, a strength of feeling, and a sharp intuition. The essay form, with its disciplined concentration on one subject, and the flexibility of treatment it allows, is well-suited to MacLennan's talents, and, along with Robertson Davies, he stands as Canada's finest essayist.

MacLennan might be termed the "Grand Old Man" of Canadian letters. Five times he has won the annual Governor-General's Award, three times for his fiction and twice for his essays; and many are the awards and honorary degrees he has been given. To him, writers like Robertson Davies, Margaret Laurence, Robert Kroetsch, Leonard Cohen, and Marian Engel, among others, owe a great deal. Although he has been most often termed a "pioneer" in Canadian literature, he is, more accurately, a transitional figure. Like one of his favourite Roman poets, Horace, who adapted Latin verse to Greek poetry, MacLennan has tuned a new nation's lyre to the existing measures of English fiction.

The single most serious difficulty in completing this research was the great distance between the major collections of MacLennan material at McGill University and the University of Calgary. Time and money for travel was consequently essential, and fortunately, my research was sponsored by the Canada Council. At McGlll, in addition, the manuscript collection is not catalogued, which further delays any researcher. It was also my experience that no single Canadian library held a complete collection of the books, journals, microfilms, and newspapers in which MacLennan's materials appear. This meant excessive dependence on Inter-Library Loan Departments and, at times, travel from one city to another to locate specific items.

Some journals, such as Liberty, New Liberty Magazine, and The Montrealer were extremely difficult to locate, since they have now been stopped for several years. Only one library in the United States held the Liberty magazines, while The Montrealer in complete form, was finally located at the New York Public Library.

Translations of MacLennan's works were difficult, and at times impossible to locate, mainly because the index to translations was incomplete.

The location of some newspaper articles and reviews could not be determined because newspapers in general do not, under any circumstances, allow researchers to have access to their files.

The list of MacLennan's awards and honours was surprisingly difficult to compile because various reference books such as Who's Who and dictionaries of biography were inconsistent. This meant that individual letters had to be sent to the institutions mentioned asking them for the precise dates and nature of degrees granted and awards given.

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Source: Part 1: Works By Mordecai Richler. Darling, Michael (compiler); Toronto, Ontario : ECW Press, 1979, pp. 156-179

Mordecai Richler An Annotated Bibliography; Introduction  

Darling, Michael (compiler)

Throughout his work, Mordecai Richler confronts the basic problems of human existence, the search for the self, the desperate need to succeed, the difficult art of survival. The world of Richler's fiction is a harsh world--demeaning, savage, and often incomprehensible. Its inhabitants are alienated, insecure, self-conscious, looking for a way out. Many of them prefer to live under false pretenses, or, acknowledging their own impotence, are possessed by feelings of guilt, fear, or oppression. Most seem unable or unwilling to confront the reality of their existence.

Some critics of Richler's work have felt that his characters lack humanity or nobility, and that they seldom command our sympathy. But as he has pointed out in a number of articles and interviews, Richler has always tried to be the loser's advocate, to elicit sympathy for even the most unsympathetic of his creations, Ernst, Duddy, and Harry Stein. At the same time, Richler has been reproached for his apparent lack of a definite moral standpoint. He has been seen as an opportunist, attacking indiscriminately, and profiting from his ability to write glib denunciations of everything from Canadian nationalism to Hollywood film-making. Yet the concerns of Richler the social critic, essayist, and book reviewer are quite as serious as those of Richler the novelist. His targets are hypocrisy, pretentiousness, and immorality, and behind the mask of the cynic is the frustrated idealist, writing out of a deep sense of disappointment, even rage, at what he sees around him. A few of his protagonists, Norman Price, Mortimer Griffin, and Jake Hersh, may be misfits in a world gone mad, but they are misfits precisely because they share the values of their creator: human dignity, honour, tolerance, and perseverance. It is from the point of view of a moral conservative that Richler lashes out at the follies of the modern world, and his moral position has always been clear.

If some Jewish critics have accused Richler of a tendency to anti-Semitism, an equal number of gentile reviewers have objected to his supposed obsession with his own Jewishness. Neither group has seen that this focus on Jewish themes reveals Richler's fundamental involvement with his heritage, and a profound insistence that the survival of the Jews, and indeed of mankind in general, depends upon a reverence for the highest achievements of our ancestors, and a contempt for the lowest perversions of our contemporaries, regardless of race or religious affiliation.

Unity of moral vision is not, however, the only attribute that Richler brings to his profession. As a stylist, he has worked to fashion a unique blend of internal monologue and external dialogue that superbly conveys the psychological turmoil of his most recent protagonist, Jake Hersh. As he has admitted, The Apprenticeship of Duddy Kravitz was the novel in which he found his true style, fast-paced, colloquial, and ironic in tone, but that achievement has been surpassed by the energetic yet masterfully controlled writing in St Urbain's Horseman. Recently, critics have begun to appreciate the skilful construction of that novel, the complexity of the Doppelganger relationships between Jake and Harry, and Jake and the Horseman, the network of sophisticated allusion and symbolism, and the intricate patterns of imagery that make St, Urbain's Horseman Richler's most rewarding work to date. Close analysis could profitably be applied to his earlier works as well. At the time of this writing, neither Cocksure nor A Choice of Enemies has received the attention it deserves.

His contributions to film scripts are very difficult to assess. The collaborative aspect of screenplay-writing tends to reduce the importance of these works in any overall evaluation of his career. Moreover, Richler has admitted to working on some film scripts under different pseudonyms, and these may be impossible to identify. Here the manuscripts at the University of Calgary should throw some light on the nature of his writings in this medium. They certainly will be of use in the textual criticism of the novels, which has not as yet held any attraction for scholars.

The strong autobiographical element in The Street,which is discernible in the novels and in the non-fiction as well, will some day command attention from students of Richler's work. Though he has kept a low profile in his private life, and continually denounced the idea of the writer as celebrity, it has often been remarked that he is at his best when he is most personal. Certainly the primary source of his inspiration as a creative writer has been the St. Urbain Street of his childhood, which forms the background to so much of his best work. More than most novelists who have achieved fame as regional writers, Richler articulates a deep sense of place without sacrificing the universal significance of the ghetto environment.

It seems likely that Mordecai Richler will continue to produce important work, which will be the subject of an increasing body of criticism. In any case, the extent of his achievement to date should ensure his reputation as one of the finest writers of his generation, not only in Canada, but throughout the English-speaking world.

The most vexing problem confronting the researcher. and especially the bibliographer, of Richler's work, is his habit of revision and republication of essays and reviews in different forms under different titles. This recycling process often involves the "cannibalism" of earlier works for material that can be incorporated into a piece reviewed for book publication. Articles such as "Bond" and "Writing for the Movies" have appeared in several versions, while others, like "Jews in Sport" and "The Holocaust and After," are made up from sections of two or more separate articles or reviews.

Annotation cannot adequately convey the nature of many of the revisions to stories and articles. The student who is particularly interested in the evolution of Richler's style will do well to compare the early versions of his short stories published in The Montrealer and New Statesman with the texts of these pieces in The Street. The genesis of St. Urbain's Horseman may be traced through the stories, appearing in a number of periodicals in the late 1960s, which were incorporated into the novel. Cocksure began as a short story in The Tamarack Rewew, was expanded to a novella in Maclean's three years later, and was finally published as a fulllength novel seven years after that. Moreover, no critic of Richler's fiction can afford to ignore his journalism, for there may be found the sources of many of his fictional scenarios. Characters, incidents, and, in some cases, dialogue, have been transplanted from non-fictional settings in Maclean's and Saturday Night to the worlds of The Incomparable Atuk and St. Urbain's Horseman.

Acknowledgements

For their assistance in the preparation of this bibhography, I would like to thank Mordecai Richler; David Latham of York University; Sheila Latham of Northern District Library, Toronto; R.A.G. Seely of McGill University, Barry Edwards of Metropolitan Toronto Library; Mary Hudecki, Ellen Hoffmann, Gary MacDonald, and Susan Partridge of Scott Libratry, York University; Ernie Ingles and Jean F. Tener of the Department of Rare Books and Special Collections of the University of Calgary Library; and especially my wife Lisa for her knowledge and her patience.

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Part 1 Works by Hugh MacLennan; Books, pamphlets, and manuscripts; Books and pamphlets  

Cameron, Elspeth (compiler)

 
      A1       Barometer Rising. New York: Duell, Sloan and Pearce,
               1941 326 pp.
               Toronto: Collins, 1941. 326 pp.
               London: Harrap, 1942. 255 pp.
               White Circle, No. 75 Toronto: Collins, 1943. 255 pp.
               St. Martin's Classics. Toronto: Macmillan, 1948. 376.
               pp.
               Introd. Hugo McPherson. New Canadian Library, No.
               8. Toronto: McClelland and Stewart, 1958 219 pp.
               Ruckkehr Zu Penelope. Trans. Jutta and Theodor
               Knurt. Stuttgart: Goverts Verlag, 1963. 332 pp.
               Ruckkehr Zu Penelope. Trans. Jutta and Theodor
               Knurt. Stuttgart, Hamburg: Dt Bucherbund, 1965.
               390 pp.
               Le Temps Tournera au Beau. Trans. Jean Simard.
               Collection L'Arbre, No. G-1. Montreal: Editions
               HMH, 1966. 295 pp.
               Introd. F. Wyatt MacLean. Impact Books. Toronto:
               Macmillan, 1969. 396 pp.
               Barometru in Urcare. Trans. Livia Deac Bucuresti:
               Editura Univers, 1971. 351 pp.

 
     A2        Two Solitudes. New York: Duell, Sloan and Pearce,
               1945 370 pp.
               Des Moines: Meredith, 1945. 383 pp.
               Toronto: Collins, 1945. 370 pp.
               London: Cresset, 1946. 367 pp.
               Dos Solidades. Trans. F de Diego. Madrid: La Nave,
               1947. 487 pp.
               Sol over St. Lawrence. Trans. Nils Holmberg. Stock-
               holm: Tidens Forlag, 1947. 358 pp.
               Due Samoty. Prague: Sfinx Bohumil Janda, 1948.
               Twelspalt. Trans. H. W. S. Schapp. Amsterdam: Ar-
               beiderspers, 1948. 429 pp.
               Ed. Claude T. Bissell. St. Martin's Classics. Toronto: 
               Macmillan, 1951. 382 pp.
               Toronto: Macmillan, 1957 370 pp.
               White Circle, No 540. Toronto: Collins, 1952. 320 pp. 
               Kaks uks Indust. Trans Ilmar Kuvet. Toronto: Orto,
               1962 2 vols. 256 pp.
               Deux Solitudes. Trans. Louise Gareau Des-Bois.
               Paris: Les Editions Spes, 1963. 648 pp.
               Laurentian Library, No. 1. Toronto: Macmillan, 1967.
               412 pp.
               New York: Popular Dbrary, 1968. 383 pp.
 

 
      A3       The Precipice. New York: Duell, Sloan and Pearce,
               1948. 372 pp.
               New York: Popular Library, 1948. 319 pp.
               Toronto: Collins, 1948. 372 pp.
               London: Cresset, 1949 372 pp.
               Resbalo. Trans. Maria Virginia Martinez. Madrid: La
               Nave, 1949. 472 pp.

 
      A4       Each Man's Son. Boston: Little, Brown, 1951. 244 pp. 
               Toronto: Macmillan, 1951. 244 pp.
               London: Hememann, 1952 239 pp.
               Introd. Alec Lucas. New Canadian Library, No. 30.
               Toronto: McClelland and Stewart, 1962. 222 pp.
               Laurentian Library, No. 11. Toronto: Macmillan, 1971.
               244 pp.

 
      A5       The Watch That Ends the Night. New York: Scribner,
               1959. 373 pp.
               Die Nacht Der Vesohnung. Trans. Maria Wolff.
               Stuttgart: Goverts Verlag, 1959. 432 pp.
               London: Heinemann, 1959 373 pp.
               Toronto: Macmillan, 1959. 373 pp.
               Songen Till Livet. Trans. Ella Wilcke. Stockholm:
               Gebers, 1960. 384 pp.
               Die Nacht Der Vesohnung. Trans. Maria Wolff
               Zurich: Buchclub Ex Libris, 1961. 591 pp.
               (Oo Moodunud on. Trans. Karl Einer. Toronto:
               Ortoprint, 1961 310 pp.
               Toronto: New American Library of Canada, 1961. 350
               pp.
               Pan Books, No. M25 London: Pan Books, 1963. 329
               pp.
               Die Nacht Der Vesohnung. Trans. Maria Wolff.
               Stuttgart, Hamburg: Dt. Bucherbund, 1964. 591 pp.
               Wien: Buchgemeinschaff Donauland, 1964 514 pp.
               Onu Beklerken. Trans. Orhan S. Yuksel. Istanbul:
               Tifdruk Matbaacilik Sanayli A S. Mabaasi, 1964. 320
               pp.
               Die Nacht Der Vesohnung. Trans. Maria Wolff.
               Stuttgart, Zurich, Salzburg: Europ Buchklub, 1965. 432
               pp.
               Le Matin d'une Longue Nuit. Trans. Jean Simard.
               Montreal: Editions HMH, 1967. 403 pp.
               Den Siste Vakt. Trans. Olav Ottersen. Oslo: For Alle, 
               1969. 282 pp.
               Die Nacht Der Vesohnung. Trans. Maria Wolff.
               Munchen: Heyne, 1969. 347 pp.
               Laurentian Library, No 32. Toronto: Macmillan, 1975
               373 pp.

 
      A6       Return of the Sphinx. New York: Scribner, 1967. 303
               pp.
               Toronto: Macmillan, 1967. 303 pp
               Unruhiger Sommer. Trans. Inger Wiscott. Stuttgart:
               Goverts Verlag, 1968. 320 pp.
               Powrot Sfinska. Trans. Maria Boduszynska-Borowi-
               kona. Warsaw: Panstwowy Institut, Wydawniczy,
               1970. 327 pp.
               Laurentian Library, No 10. Toronto: Macmillan, 1971.
               307 pp.

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Part 1 Works by Hugh MacLennan; Books, pamphlets, and manuscripts; Essay collections  

Cameron, Elspeth (compiler)

A7       Cross-Country. Toronto: Collins, 1949. 172 pp. Edmonton: Hurtig, 1972. 172 pp. Includes "The Canadian Character" (B30), "An Orange from Portugal," "On Discovering Who We Are" (B17), "The Face of Power" (B365), "Cross-Country" (B22), "Portrait of a City" (B29), "The Elephant on Parade" (B23), "Help Thou Mine Unbelief," "A Second Look," "The Tyranny of the Sunday Suit."

A8       Thirty and Three. Ed. Dorothy Duncan. Toronto: Macmillan, 1954. 261 pp. London: Macmillan, 1955 261 pp. Includes "Divertimento for Males," "Husband and Wife" (B81), "Midsummer" (B89), "The BestLoved Street in Canada," "Good Old Human Nature!" (B49), "Where Is my Potted Palm?" (B53), "Everyone Knows the Rules" (B40), "City of Two Souls" (B38), "A Study in Decadence," "Nocturne in Ottawa" (B39), "Homage to Hemlngway," "A Salutary Experience" (B42), "The Ghost That Haunts Us" (B370), "Christmas Without Dickens" (B62), "The Art of City Living" (B41), "Voltaire Said..." (B57), "The Street-Car Conductor" (B46), "The Shadow of Captain Bligh" (B80), "April in Canada" (B48), "The Dictionary Says" (B70), "Orgy at Oriel" (B59), "If You Drop a Stone" (B55), "But Shaw Was a Playwright" (B36), "A Modest Proposal," "The Great Exposure" (B72), "The Mountain in the City" (B50), "A Would-Be Saint" (B368), "What Makes a City?" (B52), "An Eagle Mewing," "The Anatomy of Humour" (B35), "Being Middle-Aged," "The Public and the Press" (B77), "An Easy Mind" (B371).

A9       Scotchman's Return and Other Essays. Toronto: Macmillan, 1960. 279 pp. London: Macmillan, 1960. 272 pp. New York: Scribner, 1960 279 pp. London: Heinemann, 1961 279 pp. Includes: "Scotchman's Return" (B224), "By Their Foods . . ." (B176), "The Lost Love of Tommy Waterfield" (B141), "Rebels Against the American Dream" (B205), "Journey into the Present" (B209), "Montrealer" (B211), "The Classical Tradition and Education," "Remembrance Day, 2010 A.D " (B217), "Confessions of a Wood-Chopping Man" (B193), "A Disquisition on Elmer" (B213), "Sir John" (B374), "Boy Meets Girl in Winnipeg, and Who Cares?" (B230), "New York, New York..." (B218), "Literature in a New Country," "The Future of the Novel as an Art Form," "The Secret and Voluptuous Life of a Rose-Grower," "Intermezzo," "October and Smoke" (B192), "My Last Colonel" (B232), "Oxford Revisited" (B223), "Have You Had Many Wimbledons?" (B222), "The Curtain Falls on the Grand Style" (B200), "Education and Montaigne's Law" (B171, B219), "Sunset and Evening Star" (B164), "Youth and the Modern Literature" (B229), "Footsteps of Genius," "Portrait of a Year" (B172), "Came the Revolution" (B215, B220), "Fifty Grand" (B207).

A10     The Other Side of Hugh MacLennan: Selected Essays Old and New. Ed. Elspeth Cameron. Toronto: Macmillan, 1978. 301 pp. Includes' "The Writer and His Audience," "An Orange From Portugal" (B21), "Help Thou Mine Unbelief" (B28), "But Shaw Was a Playwright" (B36), Everyone Knows the Rules" (B40), "If You Drop a Stone" (B55), "Where Is My Potted Palm?" (B53), "Orgy at Oriel" (B59), "Christmas Without Dickens" (B62), "The Shadow of Captain Bligh" (B80), "Fury on Ice," "The Lost Love of Tommy Waterfield," "Remembrance of Men Past" (B147), "Sunset and Evening Star" (B164), "By Their Foods " (B176), "October and Smoke" (B192), "New York, New York ..." (B218), "Have You Had Many Wimbledons?" (B222), "Scotchman's Return" (B224), "My Last Colonel," "French Is a Must for Canadians" (B245), "It's the U.S or Us" (B248), "Victory" (B242), "The Rivers That Made a Nation," "On Living in a Cold Country" (B256), "The Scottish Touch: Cape Breton" (B324), "An English-Speaking Quebecker Looks at Quebec," "The Changed Functions of Fiction and Non-Fiction," "Reflections on Two Decades" (B344), "Scotland's Fate. Canada's Lesson" (B355), "The Writer Engage," "Two Solitudes: Thirty-Three Years Later" (B364).

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Source: Part 1: Works By Hugh MacLennan. Cameron, Elspeth (compiler); Toronto, Ontario : ECW Press, 1979, pp. 104-126

Part 1 Works by Hugh MacLennan; Books, pamphlets, and manuscripts; Manuscripts  

Cameron, Elspeth (compiler)

      A22     Department of Rare Books and Special Collections
              University of Calgary Library
              University of Calgary
              Calgary, Alberta
 
              This collection includes manuscripts and galleys of Return of the 
              Spinx, correspondence with publishers, literary agents, various 
              societies and institutions from 1941-73; and personal  
              correspondence of the same period. The holdings also include 
              scrapbooks of newspaper and periodical clippings, reviews, pub-
              lished articles and speeches and photographs from 1941-66.
 

  
      A23     Rare Books and Special Collections Department
              McLennan Library
              McGill University
              Montreal, Quebec
 
              This collection has the manuscript versions of the two unpublished 
              novels, So All Their Praises and A Man Should Rejoice. It also 
              includes manuscript versions of Two Solitudes and The Watch That 
              Ends the Night. In addition, there is a large collection of 
              correspondence from 1919-66 consisting of personal letters, 
              business negotiations, etc. The collection also contains some rare 
              editions of Hugh MacLennan's work.
 

      A24     Thomas Fisher Rare Book Library
              University of Toronto
              Toronto, Ontario
              This collection holds the manuscript versions of The Watch That 
              Ends the Night, Seven Rivers of Canada, and Barometer Rising. 
              There are also a few letters in the collection.

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Source: Part 1: Works By Hugh MacLennan. Cameron, Elspeth (compiler); Toronto, Ontario : ECW Press, 1979, pp. 104-126

Part 1 Works by Hugh MacLennan; Books, pamphlets, and manuscripts; Miscellaneous  

Cameron, Elspeth (compiler)

 
      All     Oxyrhynchus: An Economic and Social Study. Diss.
              Princeton 1935. Princeton: Princeton Univ. Press,
              1935.96 pp.
              Amsterdam: A. M. Hakkert, 1968. 96 pp.
              Chicago: Argonaut, 1968. 93 pp.

 
      A12     .........., ed. McGill: The Story of a University.
              London: Allen and Unwin, 1960. 135 pp.

 
      A13     Seven Rivers of Canada. New York: Scribner, 1961
              170 pp.
              Toronto: Macmillan, 1961 170 pp.
              Rivers of Canada. New York: Scribner, 1962 170 pp.
              Taxidi eis ta Spoudaioteria epta Potamia too Kanada.
              Trans. Persephone Baza-Bourou. Athens: 1969 216
              pp.
              Rivers of Canada. Toronto: Macmillan, 1974 270 pp.
              Illustrated by John de Visser.
              Laurentian Library, No. 49. Toronto: Macmillan, 1977
              170 pp.

 
 
      A14     The Colour of Canada. The Canadian Illustrated 
              Library. Toronto: McClelland and Stewart, 1967. 124
              pp.
              Boston: Little, Brown, 1967 126 pp.
              Toronto: McClelland and Stewart, 1972. 127 pp.
              Toronto: McClelland and Stewart, 1978. 128 pp.

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Source: Part 1: Works By Hugh MacLennan. Cameron, Elspeth (compiler); Toronto, Ontario : ECW Press, 1979, pp. 104-126

Part 1 Works by Hugh MacLennan; Books, pamphlets, and manuscripts; Pamphlets  

Cameron, Elspeth (compiler)

A15     Canadian Unity and Quebec. Montreal: n.p., 1942. 16 pp. CBC Radio Roundtable with Emile Vaillancourt and J.P. Humphrey.

A16     The Present World as Seen in Its Literature. Fredericton. Univ. of New Brunswick, 1952 12 pp. Founder's Day Address.

A17     The Future of the Novel as an Art Form. Toronto: Univ. of Toronto, 1959 12 pp. Jubilee Lecture. This essay appears in Scotchman's Return, 1960, and was first published in News Bulletin [University of Saskatchewan], September 24, 1959, pp. 1-15.

A18     National Independence in the Modern World. Toronto: n.p., 1962. 11 pp. Canadian Club Address (See B267).

A19     The History of Canadian-American Relations. Vermont: Address: Goddard College, 1963 32 pp.

A20     An Orange From Portugal. Thornhill: Village Press, 1964. 16 pp. This essay appears in Cross-Country, and in The Other Side of Hugh MacLennan.

A21     [Place des Arts Brochure] Ms. [1967]. TS, holograph corrections. 12 pp Cal., Box 1, Folder 1, No. 33.

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Source: Part 1: Works By Hugh MacLennan. Cameron, Elspeth (compiler); Toronto, Ontario : ECW Press, 1979, pp. 104-126

Part 1 Works by Hugh MacLennan; Contributions to periodicals, books, and anthologies; Book reviews  

Cameron, Elspeth (compiler)

B365     "The Face of Power." Rev. of Faces of Destroy, by Yousef Karsh. Maclean's, 1 May 1947, pp. 18, 35-36,38, 40 C-C.

B366     Rev. of From Here to Eternity, by James Jones. CBC Radio ([15] April 1951).

B367     Rev. of Rhythm in the Novel, by E.K. Brown University of Toronto Quarterly, 21 (1951-52), 88-90.

B368     Rev. of Witness, by Whittaker Chambers. The Montrealer, Aug 1952, pp. 52-53. TT ("A Would-Be Saint").

B369     Rev. of The Old Man and the Sea, by Ernest Hemingway. The Montrealer, Nov 1952, pp. 58-59.

B370     "The Ghost That Haunts Us." Rev. of The Incredible Canadian, by Bruce Hutchinson. The Montrealer, April 1953, pp 54, 56. TT.

B371     "A Great Story Reborn." Rev. of Sailing Alone Around the World, by Joshua Slocum. The Montrealer, May 1953, pp. 54-55. TT ("An Easy Mind").

B372     "Tired Men." Rev. of The Secret Diary of Harold Ickes, by Harold Ickes. The Montrealer, Aug 1954, pp 21, 23, 25, 27. Ms. in McGlll, Box 1, Part 1, Folder 6, Nos 68-72, 124. No. 9, titled "History as Seen by One of its Makers."

B373     "How to Understand French Canada." Rev. of The French Canadians, by Mason Wade. Saturday Night, 12 March 1955, pp 9-10.

B374     "Sir John." Rev. of The Young Politician and The Old Chieftain, by Donald Creighton. The Montrealer, Dec. 1955, pp. 25, 27, 29. SROE.

B375     "Montreal's Best -- The Northwest Company." Rev. of The Northwest Company, by Marjorie Wilkins Campbell. The Montrealer, Feb 1958, pp. 31-35.

B376     "Speaking of Books." Rev. of The Civilization of Rome, by Donald R Dudley. New York Times Book Review, 12 Feb 1961, p. 2.

B377     "An Author Appraises an Editor." Rev. of Years With Ross, by James Thurber. The Montreal Star, 23 June 1962, p 4.

B378     "Scotland Bled at Culloden, But Canada Was Enriched." Rev. of Culloden, by John Prebble. The Montreal Star, 23 June 1962, p. 4.

B379     "Reflections on Sex in History." Rev of Sex in History, by G. Rattray Taylor. The Montreal Star, 8 Sept 1962, p. 4.

B380     "Speaking of Books." Rev. of Memoirs of a Superfluous Man, by Albert J. Nock. New York Times Book Review, 30 Sept 1962, p. 2.

B381     "A Scientist's Work and Man's Morals." Rev. of Brighter Than a Thousand Suns, by Robert Jungk. The Montreal Star. 13 Oct 1962, p. 4.

B382     "Looking into the Secret of Holmes' Actualness." Rev. of Sherlock Holmes, by William Baring-Gould. The Montreal Star, 27 Oct. 1962, p. 4.

B383     "The Sage of the Nor'-Westers." Rev. of McGillivray, Lord of the Northwest, by Marjorie Wilkins Campbell. The Montreal Star, 12 Jan 1963, p. 4.

B384     "The Angry Old Man and a Wasted Land." Rev. of From Colony to Natton, by A. M. Lower. The Montreal Star, 16 March 1963, p. 4.

B385     "A Very Moral Geisha Girl." Rev. of House of 10,000 Pleasures, by Sara Harris. The Montreal Star, 1 June 1963, p 4.

B386     "The Thucydides of World War I." Rev. of The Guns of August, by Barbara Tuchman. The Montreal Star, 8 June 1963, p. 4.

B387     "A Writer's Diary." Rev. of Memoirs of a Superfluous Man, by Albert J Nock. The Montreal Star, 7 Sept. 1963, p 4. Rpt. in New York Times Book Review, 30 Sept 1962, p. 2.

B388     "Hemingway, Hunter and the Hunted." Rev. of My Brother Ernest Hemlngway, by Leicester Hemingway. The Montreal Star, 21 Sept 1963, p. 4.

B389     "Granite and Litmus." Rev. of The Scotch, by J.K. Galbraith New York Times Magazine, 16 Aug 1964, p. 12.

B390     "Two Books on Canada." Rev. of Lament for a Nation, by George Grant, and The Vertical Mosaic, by John Porter. The Tamarack Review, No. 57 (Autumn 1965), pp. 90-97.

B391     "Raddall of the Sands." Rev. of In My Time, by Thomas Raddall. Books In Canada, Nov 1976, p 3.

B392     "The Muse of Eloquence. . .or. . .the Eloquence of Money." Rev. of Industrial Histories, by Merrill Denison. Canadian Author and Bookman, 42, No 2 (Winter 1966), 13-14. Ms. in Calgary, Box l, Folder 1, No. 29, titled "Merrill Denison's Industrial Histories."

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Source: Part 1: Works By Hugh MacLennan. Cameron, Elspeth (compiler); Toronto, Ontario : ECW Press, 1979, pp. 104-126

Part 1 Works by Hugh MacLennan; Contributions to periodicals, books, and anthologies; Essays  

Cameron, Elspeth (compiler)

        Note: When an item is reprinted in one of MacLennan's books, this               fact is noted in the entry through the following abbreviations:

              Cross-Country ...........................C-C
              Thirty and Three ......................... TT
              Scotchman's Return and Other Essays ..... SROE
              Seven Rivers of Canada .................. SRC
              The Other Side of Hugh MacLennan ..... OSHM
 

B1      "Roman History and Today." Dalhousie Review, 15 (1935-36), 67-78.

B2      "Beware of Your Elders." Lower Canada College Magazine, Feb. 1936, pp. 22-24.

B3      "They Play the Game." Lower Canada College Magazine, June 1936, pp. 22-24.

B4      Untitled. (1937), 3 pp.

B5      "And Seeing the Multitudes." Lower Canada College Magazine, Feb 1937, pp 9-14.

B6      "The Torrents of Swing." Lower Canada College Magazine, June 1937, pp 23-28.

B7      "Concussion." Lower Canada College Magazine, June 1938, pp. 27-30.

B8      "Soviet Visa." Lower Canada College Magazine, Feb 1939, pp. 16-20.

B9      "The Drug of Decadence." (1940), 7 pp.

B10     "What is Your Game?" Lower Canada College Magazine, Feb 1940, pp. 39-41.

Bll     "The Wide Horizon: Where Convoys Set Sail." Christian Science Monitor, 15 Aug. 1940, p 3.

B12     "Culture, Canadian Style." Saturday Review, 28 March 1942, pp 3-4, 18-20.

B13     "Anniversary of an Idea." Montreal Standard, 27 June 1942, Sec Magazine, pp. 3, 8.

B14     "How Do I Write?" Canadian Author and Bookman, 21 (Dec. 1945), 6-7.

B15     "The Educational Value of Canadian Literature." The Globe and Mail, 29 June 1946, p. 8.

B16     "Canada Between Covers." Saturday Review, 7 Sept. 1946, pp 5-6, 28-30.

B17     "How We Differ From Americans. "Maclean's, 15 Dec. 1946, pp. 9, 49-50, 52, 54-55 C-C ("On Discovering Who We Are").

B18     "Canada Preferred." Time, 30 Dec 1946, p. 12.

B19     "Do We Gag Our Writers?" Maclean's, 1 March 1947, pp. 13, 50, 52, 54-55.

B20     "Canada For Canadians." Vogue, 15 May 1947, pp 95, 134-36.

B21     "An Orange From Portugal." Chatelaine, Dec 1947, pp. 17, 72-75 C-C; OSHM.

B22     "What Does Uncle Sam Want?" Maclean's, 1 April 1948, pp 7-8, 53-57 C-C ('Cross-Country').

B23     "The Elephant on Parade." Maclean's, 15 Aug 1948, pp. 50-53. C-C.

B24     "The Future Trend in the Novel." Canadian Author and Bookman, 24 (Sept 1948), 3-5.

B25     "Preface." In Cross-Country. Toronto: Collins, 1949, pp vii-ix.

B26     "A Second Look." In Cross-Country. Toronto: Collins, 1949, pp 151-56.

B27 ��   "Tyranny of the Sunday Suit." In Cross-Country Toronto: Collins, 1949, pp. 159-72.

B28     "Are We a Godless People?" Maclean's, 15 March 1949, pp. 7, 71-77 C-C ("Help Thou Mine Unbelief"); OSHM.

B29     "Portrait of Halifax." National Home Monthly, April 1949, pp 12-13 C-C ("Portrait of a City").

B30     "The Psychology of Canadian Nationalism." Foreign Affairs, April 1949, pp 413-25. C-C ("The Canadian Character").

B31     "Changing Values in Fiction." Canadian Author and Bookman, 25, No. 3 (Autumn 1949), 10-18.

B32     "The Ten Greatest Canadians." New Liberty, Nov. 1949, pp 7-13.

B33     "Power and Love." The Montrealer, April 1951, pp. 27, 29.

B34     "Each Man's Son." Saturday Night, 10 April 1951, pp. 8-9. Rpt. in The Sunday Bulletin [Philedelphia], 14 Oct 1951.

B35     "The Anatomy of Humour." The Montrealer, May 1951, pp 23, 25 TT.

B36     "But Shaw Was a Playwright." The Montrealer, July 1951, pp 19, 21 TT; OSHM.

B37     "Cape Breton, the Legendary Island." Saturday Night, 3 July 1951, 12-13.

B38     "City of Two Souls." Holiday, Aug. 1951, pp 48-55. TT.

B39     "Whose World is This?" The Montrealer, Oct. 1951, pp. 25-26. TT ("Nocturne in Ottawa").

B40     "Everyone Knows the Rules." The Montrealer, Dec. 1951, pp. 66, 68-69 TT; OSHM.

B41     "The Art of City Living." Saturday Nsght, 22 Dec 1951, pp. 7, 36 TT.

B42     Untitled. The Montrealer, Jan. 1952, pp. 56-57. TT ("A Salutary Experience").

B43     "Eisenhower for President?" The Montrealer, Feb. 1952, p. 17.

B44     Untitled. The Montrealer, Feb 1952, pp 50-51.

B45     "Jotham Logan, a Personal Tribute." Dalhousie Review, 32, No 1 (Spring 1952), 15-18.

B46     Untitled. The Montrealer, March 1952, pp. 50-51. TT ("The Street-Car Conductor").

B47     "The Spring Clean-Out." The Montrealer, April 1952, p. 17.

B48     Untitled. The Montrealer, April 1952, pp. 52-53 TT ("April in Canada").

B49     Untitled. The Montrealer, May 1952, pp 58-59. TT ("Good Old Human Nature").

B50     "Montreal: The Mountain in the City." Mayfair, June 1952, pp 42-45, 71-74. Rpt. in Wilson Library Bulletin, 34 (June 1960), 715-17. TT.

B51     "A New Ethic for American Foreign Policy." The Montrealer, June 1952, p. 21.

B52     Untitled. The Montrealer, June 1952, pp. 56-58. TT ("What Makes a City").

B53     "My First Book." Canadian Author and Bookman, 28 (Summer 1952), 2-5. TT ("Where Is My Potted Palm?"); OSHM.

B54     "The Character of the President." The Montrealer, July 1952, p. 17.

B55     Untitled. The Montrealer, July 1952, pp. 50-51. TT ("If You Drop a Stone"); OSHM.

B56     "And This is His City." New Liberty, Sept. 1952, pp. 28-29, 67-68.

B57     Untitled. The Montrealer, Sept. 1952, pp. 50-51 TT ("Voltaire Said . .").

B58     "Fiction in the Age of Science." Western Humanities Review, 6 (Autumn 1952), 325-34.

B59     Untitled. The Montrealer, Oct. 1952, pp. 56-57. TT ("Orgy at Oriel"); OSHM.

B60     ["Revival in Book Publishing."] London Free Press, 25 Oct 1952.

B61     "Some Thoughts on the Presidential Campaign." The Montrealer, Nov 1952, p. 25.

B62     "Christmas without Dickens." Mayfair, Dec. 1952, pp. 45, 66-68, 70. TT," OSHM.

B63     "A Layman Looks at Medical Men." The Canadian Doctor, Dec. 1952, pp. 34-39.

B64     Untitled. The Montrealer, Dec 1952, pp 82-83.

B65     "The President's First Task." The Montrealer, Jan. 1953, p. 21.

B66     Untitled. The Montrealer, Jan. 1953, pp. 54-55.

B67     Untitled. Saturday Night, 10 Jan. 1953, pp 7-8.

B68     "The Artist and the Critic in Society." Princeton Alumni Weekly, 30 Jan 1953, pp 85-91.

• 869     Untitled. Saturday Night, 31 Jan 1953, pp. 7-8.
• 870     Untitled. The Montrealer, Feb. 1953, pp 56-57 TT ("The Dictionary Says . .").

B71     "The Inevitable Clash." The Montrealer, March 1953, p. 21.

B72     Untitled. The Montrealer, March 1953, pp 59, 61 TT ("The Great Exposure").

B73     "Frustration Among Telecasters." Saturday Night, 21 March 1953, pp.22-23.

B74     "Spring Show: Confusion Compounded." Saturday Night, 11 April 1953, p 11.

B75     "Symbol of Reality." The Montrealer, May 1953, p. 21.

B76     "Time of the Wildly Improbable." Saturday Nsght, 23 May 1953, pp. 18-20.

B77     "Newspapers, Authors and the Public." The Montrealer, June 1953, pp 54-55. TT ("The Public and the Press").

B78     "Searchers of the Arctic Empire." Saturday Night, 13 June 1953, pp. 11-12.

B79     "Canada, The Dramatic North." Holiday, July 1953, pp. 38-46, 110, 112-17.

B80     "Joseph Haydn and Captain Bligh." The Montrealer, July 1953, pp 50-51. TT ("The Shadow of Captain Bligh."), OSHM.

B81     "Miracle That's Changing Nova Scotia." Mayfair, July 1953, pp. 30-31, 57-60 TT ("Husband and Wife").

B82     "The Thankless Profession." Canadian Home Journal, July 1953, pp. 20-21, 28-31.

B83     "Wanted--A Policy for Asia." The Montrealer, July 1953, p 17.

B84     "Life of Privacy and Freedom." Saturday Night, 18 July 1953, pp. 13-14.

B85     "A Telegram Under the Door." The Montrealer, Aug. 1953, pp. 50-51.

B86     "Why I'm Voting Liberal." Maclean's, 1 Aug. 1953, pp. 8-9, 50-51.

B87     "Required: A Major Operation" Saturday Night, 15 Aug. 1953, pp 12-13.

B88     "The Listless Election." The Montrealer, Sept 1953, p. 21.

B90     "Nova Scotia." Holiday, Sept. 1953, pp 98-108.

B91     "Controlling Ottawa from Both Sides." Saturday Night, 5 Sept. 1953, p. 14.

B92     "Canada. . . An Eagle Mewing Her Mighty Youth." The Heartland,(Fall 1953), 7-10. TT ("An Eagle Mewing").

B93     "Autumn in Quebec" Town and Country, Oct. 1953, pp. 105-07, 198. Ms. in McGill, Box 1, Part 1, Folder 10, Nos. 37-50, 51-64, titled "Quebec in Autumn."

B94     "The Best Loved Street in Canada." Mayfair, Oct. 1953, pp. 34-37, 68-69, 72-74. TT.

B95     "A Scotchman's Thanksgiving." The Montrealer, Oct 1953, pp. 55-57.

B96     "When the Evening Sun Goes Down." Saturday Night, 10 Oct 1953, pp. 12-13.

B97     "Modern Tennis -- A Study in Decadence." The Montrealer, Nov. 1953, pp 54-55 TT ("A Study in Decadence").

B98     "President Eisenhower -- Man and Myth" The Montrealer, Nov. 1953, p. 21.

B99     "The Forum and the Finer Things." Saturday Night, 21 Nov 1953, pp 24-25.

B100    "A Modest Proposal for the Good of the Country." The Montrealer, Dec. 1953, pp. 73-74. TT ("A Modest Proposal").

B101    "Goodwill at a Modest Price." Saturday Night, 19 Dec. 1953, p 5.

B102    "Homage to Hemingway." In his Thirty and Three. Ed. Dorothy Duncan. Toronto: Macmillan, 1954, pp. 85-96.

B103    "A Word Aside." In his Thirty and Three. Ed. Dorothy Duncan. Toronto: Macmillan, 1954, pp 85-96.

B104    "Alan Paton -- A Light in Darkness." The Montrealer, Jan 1954, pp. 52-53.

B105    "Must We Return to 1933?" The Montrealer, Jan 1954, p. 19.

B106    "A Chill Along the Backbone." Saturday Night, 9 Jan 1954, p 5.

B107    "Writing in Canada -- Its Position Today." Royal Military College Review, 30 Jan. 1954, 129-35.

B108    "Time Holds a Symposium on France." The Montrealer, Feb 1954, pp. 31, 33.

B109    "On Agreeing to Disagree " Saturday Night, 13 Feb. 1954, p. 12.

Bl10    "Divertimento for Males." The Montrealer, March 1954, pp. 35, 37 TT.

Blll    "It Can Happen Here." The Montrealer, March 1954, p. 17.

Bl12    "A New Tax for Quebec." Saturday Night, 31 March 1954, p. 9.

Bl13    "A Middle-Aged Man Looks at Youth." The Montrealer, April 1954, pp. 29, 31. TT ("Being Middle-Aged").

Bl14    "Cherished Dream of a Hick Town." Saturday Night, 24 April 1954, p. 19.

B115    "The Great White Whale." The Montrealer, May 1954, pp. 25, 27, 29.

Bl16    "What Can We Do About It?" The Montrealer, May 1954, p. 17.

Bl17    "Storm in Quebec: A National Danger." Saturday Night, 8 May 1954, pp. 7-8.

B118    "The Writer and His Audience." The Montrealer, June 1954, pp 27, 29, 31 OSHM. Ms. in McGill, Box 1, Part 1, Folder 6, Nos 1-6, 63-67, titled "The Writer and the Reader."

Bl19    "In Praise of McGill." The Montrealer, July 1954, pp. 21, 23, 25.

B120    "Is There Any Way Out of This Jungle" Chatelaine, July 1954, pp. 4-5.

B121    "Will the Trance End This Year?" The Montrealer, July 1954, p. 15.

B122    "Severe Attack of Subway Subversion." Saturday Night, 3 July 1954, pp. 9-10.

B123    "Comic Strip Mentality vs The Bomb." Saturday Night, 24 July 1954, p 9.

B124    "Thrift Tour of Montreal." Holiday, Aug. 1954, pp 12-15.

B125    "The Makers of the World's Policy." Saturday Night, 21 Aug 1954, pp 9-10.

B126    "The Canadian Rockies." Holiday, Sept 1954, pp. 3843.

B127    "The Secret and Voluptuous Life of a Rose-Grower." The Montrealer, Sept 1954, pp. 23, 25, 27, 29 SROE.

B128    "Whatever It Was, It Wasn't Munich." The Montrealer, Sept. 1954, p. 19.

B129    "Proper Technique for a Best Friend." Saturday Night, 11 Sept 1954, pp. 9-10.

B130    "Footsteps of Genius." The Montrealer, Oct 1954, pp. 25, 27, 29, 31. SROE.

B131    "A Shiver When an Era Ends." Saturday Night, 9 Oct 1954, pp. 9-11.

B132    "The St Lawrence: Realization of a Mighty Dream." The Annual Report, 1954. Seagrams Ltd (29 Oct 1954), 12-47.

B133    "Is There a Tennis Player in the House." The Montrealer, Nov 1954, p. 21.

B134    "Thoughts on Kidnappers." The Montrealer, Nov. 1954, pp 29, 31, 33.

B135    "The Aristocracy of Corruption." Saturday Night, 6 Nov 1954, pp 9-11.

B136    "Barometer Rising?" The Montrealer, Dec. 1954, p. 23.

B137    "An Eightieth Birthday." The Montrealer, Dec. 1954, pp. 27, 29, 31.

B138    "Fury on Ice." Holiday, Dec 1954, pp 83-84,86,88,90-91,174,176,178-80 OSHM. Ms in McGill, Box 1, Part 1, Folder 6, Nos 15-35, titled "Ice Hockey."

B139    "Jean Drapeau and His New Mandate." Saturday Night, 11 Dec. 1954, pp 9-11.

B140    "Youth Defended." (1955), 11 pp.

B141    "The Lost Love of Tommy Waterfield." The Montrealer, Jan. 1955, pp 21, 23, 25 SROE; OSHM.

B142    "The Rise of the New Challenger." Saturday Night, 15 Jan 1955, p. 9.

B143    "Why Our Friendship with Tinker went Phffft." Maclean's, 15 Jan 1955, pp 2, 44.

B144    "Couth and Uncouth." The Montrealer, Feb. 1955, pp.l0, 21, 23.

B145    "Cinerama 'Nightmare': Spirit of Hockey." Saturday Night, 26 Feb 1955, p. 9.

B146    "The Albatross." The Montrealer, March 1955, p 17.

B147    "Remembrance of Men Past." The Montrealer, March 1955, pp 25, 27. OSHM.

B148    "How to Understand French Canada." Saturday Night,12 March 1955, pp 9-10.

B149    "The Finding of the Way." The Montrealer, April 1955, pp 23, 25, 69.

B150    "Explosion and the Only Answer." Saturday Night, 9 April 1955, pp 9-10.

B151    "Dream World and Democracy." The Montrealer, May 1955, p. 17.

B152    "Shakespeare Revisited." The Montrealer, May 1955, pp. 23, 25.

B153    "Late Spring and Burgeoning Plans." Saturday Night, 14 May 1955, pp. 48-49.

B154    "The Challenge to Prose." Transactions of the Royal Society of Canada, 49, Ser. 3, Sec. 2 (June 1955), 44-55.

B155    "Death of the Hero." The Montrealer, June 1955, pp 25, 25.

B156    "The Older Quest." Dalhousie Review, 35 (Summer 1955), 120-26.

B157    "The British Election." The Montrealer, July 1955, p.17.

B158    "Maiden Flight." The Montrealer, July 1955, pp. 25, 27.

B159    "The Problem of Having No Problems." The Montrealer, Aug. 1955, p. 17.

B160    "Queen of Tourneys." The Montrealer, Aug 1955, pp. 21, 23, 25.

B161    "Case for a Real Canadian Film." Saturday Night, 6 Aug. 1955, pp 12-13.

B162    "The Homeric Tradition." The Montrealer, Sept. 1955, pp. 21, 23.

B163    "Toronto Story." Holiday, Sept 1955, pp. 38-43.

B164    "Sunset and Evening Star." The Montrealer, Oct. 1955, pp. 21, 23. SROE; OSHM.

B165    "Monument for the Mayor?" Saturday Night, 1 Oct 1955, pp. 11-12.

B166    "The Years Ahead . . . What Kind of People We'll Become." Maclean's, 15 Oct 1955, pp. 14-15, 106-08, 110.

B167    "The Perils of Pauline." The Montrealer, Nov. 1955, p. 21.

B168    "The Transition Ends." The Montrealer, Nov. 1955, pp. 25, 27.

B169    "Two Cases for Speaking Frankly." Saturday Night, 26 Nov. 1955, pp. 36-38.

B170    "Canada's Capital." Holiday, Dec. 1955, pp. 60-63.

B171    "Montaigne's Law." The Montrealer, Jan. 1956, p 21. SROE ("Education and Montaigne's Law").

B172    "Thoughts at a Year's End." The Montrealer, Jan. 1956, p 25. SROE ("Portrait of a Year").

B173     "The Canadian, 1955 Model." Saturday Night, 7 Jan 1956, pp 7-8.

B174     "Comrades, Pals, Neighbours and Friends." The Montrealer, Feb. 1956, pp 24-25.

B175     "Will TV Produce a New Breed of Canadian Heroes?" Liberty, Feb 1956, pp. 32, 52, 54.

B176     "By Their Foods. . . ." The Montrealer, March 1956, pp.29-30. SROE; OSHM.

B177     "Mr Dulles and Mr. Luce." The Montrealer, March 1956, p. 21.

B178     "Good Deed in a Naughty World." Saturday Night, 3 March 1956, pp. 14-15.

B179     "The Thinking Atom." The Montrealer, April 1956, pp. 31-32.

B180     "Quebec Forgets its Old Fears." Saturday Night, 14 April 1956, pp. 11-13.

B181     "Damnatio Memoriae." The Montrealer, May 1956, p.19.

B182     "Lawyers in Wonderland." The Montrealer, May 1956, pp. 29-30.

B183     "History. . . What is It?" The Montrealer, June 1956, pp. 31-32.

B184     "The Cyprus Tragedy." The Montrealer, July 1956, p. 19.

B185     "Quebec vs. Donald Gordon." Saturday Night, July 1956, pp. 10-11.

B186     "Tony Doesn't Like Greeks." The Montrealer, July 1956, pp. 29-30.

B187     "It Pays to Pamper Our Children." Maclean's, 21 July 1956, pp 4, 46-48.

B188     "Krushchev and the American Election." The Montrealer, Aug 1956, pp 35-37.

B189     "Aftermaths of a Fair Lady." The Montrealer, Sept. 1956, pp. 23-25.

B190     "The Glacier melts at Last." The Montrealer, Sept. 1956, p 13.

B191     "Old Age, Youth and Leadership." Saturday Night, 15 Sept 1956, pp 10-12.

B192     "October and Smoke." The Montrealer, Oct 1956, pp. 20-22 SROE; OSHM.

B193     "Confessions of a Wood-Chopping Man." The Montrealer, Nov 1956, pp 22-24. SROE: OSHM.

B194     "The Most Important Job in Canada." The Montrealer, Nov. 1956, p 17.

B195     "Our Canadian Border: A Most Imaginary Line." Holiday, Nov 1956, pp. 51, 53, 55-58, 142,144-46, 148-51. Ms. in McGill, Box 2, Part 1, Folder 12, Nos 71-97, titled "The Canadian-American Border."

B196     "Back to Tolstoy." The Montrealer, Dec 1956, pp. 36-40.

B197     "Quebec Universities: Politics vs Need" Saturday Night, 8 Dec. 1956, pp. 13-15.

B198     "Breakdown." The Montrealer, Jan 1957, p. 11.

B199     "A State of Mind." The Montrealer, Jan. 1957, pp.                30-33.

B200     "The Curtain Falls on the Grand Style; a Dramatic Account of the English People." The Montrealer, Feb. 1957, pp 28-31. SROE.

B201     "Montreal on Wheels: A Nightmare in Motion" Saturday Night, 16 Feb. 1957, pp. 16-17.

B202     "The New Nationalism and How it Might have Looked to Shakespeare." Maclean's, 16 Feb 1957, pp. 8, 49-52. Ms. in McGill, Box 2, Part 1, Folder 10, Nos 70- 83, titled "Reflections after Suez."

B203     "Do They Even Want to Win." The Montrealer. March 1957, p 15.

B204     "Triumph, the Story of a Man's Greatest Moment." The Montrealer, March 1957, pp 53-58. Ms in McGill, Box 2, Part 1, Folder 10, No 2, titled "Supreme Moment."

B205     "Edge of the City; Rebels Against the American Dream." The Montrealer, April 1957, pp. 32-36 SROE.("Rebels Against the American Dream").

B206     "Big, Bad Wolf." The Montrealer, May 1957, p 17.

B207     "Fifty Grand: A Semi-Centenarian Takes Stock." The Montrealer, May 1957, pp 37-41 SROE ("Fifty Grand").

B208     "Portrait of an Artist: Dorothy Duncan." The Montrealer, June 1957, pp 36-40.

B209     "Lines Written in a State of Shock." The Montrealer, July 1957, pp.38-41. SROE ("Journey into the Present").

B210     "Is Quebec Still the Key to Canadian Politics?" Saturday Night, 20 July 1957, pp. 10-ll, 38.

B211     "Montreal." The Montrealer, Aug. 1957, pp. 28-31. SROE ("Montrealer").

B212     "The Canadian Story." 1 Aug 1957, 45 pp.

B213     "So This Is Elmer! An Acrostic and a Stranger in Flagstaff Solve the Mystery of Elmer." The Montrealer, Sept. 1957, pp. 36-42. SROE ("A Disquisition on Elmer"); OSHM ("That Was Elmer"). Ms. in McGlll, Box 2, Part 1, Folder 11, No 1, titled "That Was Elmer."

B214     "Artist vs. Critic." The Montrealer, Oct. 1957, pp. 44-57.

B215     "A New Era Is Recognized." The Montrealer, Nov. 1957, pp 37-45 SROE. (excerpt -- "Came the Revolution").

B216     "We Can't Have Christ and Sputnik Too." Maclean's, 23 Nov 1957, pp 10, 101-03.

B217     "Remembrance Day." The Montrealer, Dec. 1957, pp.46-55. SROE ("Remembrance Day, 2010 A.D.").

B218     "New York, New York. . . ." The Montrealer, March 1958, pp 28, 31, 33-34. SROE; OSHM.

B219     "Are the Politicians Ruining Education?" The Montrealer, April 1958, pp. 23-26 SROE ("Education and Montaigne's Law").

B220     "Canada's Revolution -- WHY Did It Happen?" The Montrealer, May 1958, pp 20-22 SROE ("Came the Revolution").

B221     "Against All Odds." The Montrealer, July 1958, pp. 24-26.

B222     "Have You Had Many Wimbledons?" The Montrealer, Sept. 1958, pp. 22-25 SROE; OSHM.

B223     "Oxford Revisited." The Montrealer, Oct 1958, p. 24. SROE.

B224     "Are Canadians at Last at Home?" The Montrealer, Nov. 1958, pp 54-59, 61 SROE ("Scotchman's Return"); OSHM.

B225     "Why Life is Better in Britain." Maclean's, 8 Nov. 1958, pp. 10, 68-70.

B226     "The People behind this Peculiar Nation." The Montrealer, Dec 1958, pp 28-31.

B227     "The Testing of Jerome Martell." Maclean's, 16 Dec. 1958, p. 16.

B228     "My Surgeon Father." Bulletin of the American College of Surgeons, 44 (1959), 214, 232.

B229     "The Collapse of the Family." The Montrealer, Jan. 1959, pp 16-18 SROE ("Youth and the Modern Literature").

B230     "A Boy Meets a Girl in Winnipeg and Who Cares?" The Montrealer, Feb. 1959, pp. 18-20. SROE ("Boy Meets Girl in Winnipeg, and Who Cares?").

B231     "The High and Mighty Mackenzie." Maclean's, 11 April 1959, pp. 18-21, 53-54, 56-60 SRC ("The Mackenzie").

B232     "My Last Colonel." The Montrealer, May 1959, pp 26-28. SROE

B233     "The Incomparable St. Lawrence." Maclean's, 9 May 1959, pp 24-27, 38, 40, 42, 44, 46 SRC ("The St. Lawrence").

B234     "The Languid and Lovely St John." Maclean's, 4 July 1959, pp 22-23, 37-40 SRC ("The St John").

B235     "The Fraser." Maclean's, 21 Nov 1959, pp. 20-23, 60-62 SRC.

B236     "La Litterature Canadienne-Francaise me fait Penser a Dickens et Balzac." Le Devoir, 28 Nov 1959, p. 9.

B237     "The Classical Tradition and Education." In Scotch-man's Return and Other Essays. Toronto: Macmillan, 1960, pp 54-78. Rpt. "The Rout of the Classical Tradition." In Horizon, Nov 1960, pp 16-24.

B238     "Intermezzo." In Scotchman's Return and Other Essays. Toronto: Macmillan, 1960, pp 168-70.

B239     "Literature in a New Country." In Scotchman's Return and Other Essays. Toronto: Macmillan, 1960, pp 137-41.

B240     "McGill Today." In McGill. The Story of a University. London: Allen and Unwin, 1960, pp 15-25.

B241     "The Origins of McGill." In McGill: The Story of a University. London: Allen and Unwin, 1960, pp 27-48.

B242     "Victory" [c. 1960] 9 pp. OSHM.

B243     "Let's Rescue Our Cities Before it's Too Late." Gazette Weekend Magazine, 19 March 1960.

B244     "The Saskatchewan." Maclean's. 9 April 1960, pp 20-23, 36-37, 40-42. SRC.

B245     "French Is a Must for Canadians." Imperial Oil Review. June 1960, pp. 2-5. 0SHM.

B246     "The Surprising Red." Maclean's, 13Aug. 1960, pp 15-19, 28, 30-32 SRC ("The Red").

B247     "The Defence of Lady Chatterley." Canadian Literature No. 6 (Autumn 1960), pp 18-23.

B248     "It's the U.S. or Us." Maclean's, 5 Nov 1960, pp 10, 59-60, 62-63. OSHM.

B249     "Dear Mr. President." Star Weekly, 12 Nov. 1960, p. 50.

B250     "The Story of a Novel." Canadian Literature, No. 7 (Winter 1960), pp 35-39. Rpt. in Masks of Fiction. Ed. A.J.M. Smith. New Canadian Library, No 2 Toronto: McClelland and Stewart, 1961, pp 33-38.

B251     "The Artist in the 1960's." 1961, 4 pp.

B252     "The Canadian River System." In Seven Rivers of Canada. Toronto: Macmillan, 1961, pp. 1-5.

B253     "Interlude." In Seven Rivers of Canada. Toronto: Macmillan, 1961, pp 31-33.

B254     "Introduction." In Seven Rivers of Canada. Toronto: Macmillan, 1961, pp vii-ix.

B255     "L'Envoi." In Seven Rivers of Canada. Toronto: Macmillan, 1961, pp 169-70.

B256     "On Living with the Winter in the Country." 1961 7 pp. OSHM ("On Living in a Cold Country"). Ms. in McGlll, Box 1, Part 1, Folder 8, Nos 14-25, titled "On Living in a Cold Climate."

B257     "The Rivers That Made a Nation." In Seven Rivers of Canada. Toronto: Macmillan, 1961, pp 9-29. OSHM.

B258     "Strachey Most Under-Rated Writer of the Twentieth Century." New York Times Book Review Sectson, 12 Feb 1961, p. 2.

B259     "Anti-Americanism in Canada." Harper's Magazine, March 1961, pp 14-15, 21-22, 24.

B260     "Hugh MacLennan's Personal Brief to the Royal Commission on Publications." Canadian Library Association Bulletin, 17 (March 1961), 235-42.

B261     "Books We Read When We Were Young." Atlantic Provinces Library Association Bulletin, 25 (Summer 1961), 87-88. Rpt. in Canadian Library, 18 (July 1961), 11 Rpt. in Ontario Library Review, 45 (Nov. 1961), 226.

B262     "Canada Run From Fiction Comes Energy." Glamour, July 1961, pp 85, 106-07.

B263     "The Ottawa." Maclean's, 29 July 1961, pp. 8, 40-42. SRC.

B264     "One Canada: The Real Promise of Quebec's Revolution." Maclean's, 26 Aug. 1961, pp 15, 32-34.

B265     "The Thing We Are All Thinking About." Sept 1961, 15 pp. Ms. in McGfll, Box 1, Part 1, Folder 7, Nos 16-31, 32-37, 57-67, 68-78, Box 2, Part 1, Folder 7, Nos. 108- 18, titled "Let's All Think About It."

B266     "The Decisive Years for Canada." (1962). 12 pp.

B267     "National Independence in the Modern World." Pamphlet. (1962). See A18.

B268     "What the Non-Believer Believes." Exchange, A Canadian Review of Contemporary Thought, 2 (Feb - March 1962), 24.

B269     "We Have a Fine Thing in Canada... But Problem Is How Do We Keep It." Financial Post, 31 March 1962, pp 25-26. Rpt. in Canadian Library Association Bulletin, 18 (May 1962), 242-44.

B270     "Postscript on Odysseus." Canadian Lsterature, No. 13 (Summer 1962), pp 86-97.

B271     "Dos Passos Rediscovered." The Montreal Star, 30 June 1962, p 4.

B272     "New Phenomenon in Literature." The Montreal Star, 7 July 1962, p. 4.

B273     "The Clearest Intellect of Our Age." The Montreal Star, 14 July 1962, p. 4.

B274     "Today's Novelist and the Serious Audience." The Montreal Star, 21 July 1962, p. 4.

B275     "Boys' Tales of Yore, British to the Core." The Montreal Star, 11 Aug. 1962, p. 4.

B276     "Getting to the Root of the Matter." The Montreal Star, 18 Aug 1962, p. 4.

B277     "The Great Literature of the Sea." The Montreal Star, 25 Aug 1962, p 4.

B278     "Some Thought on the Historical Novel." The Montreal Star, 15 Sept. 1962, p. 4.

B279     "The English Thriller Revolution." The Montreal Star, 22 Sept 1962, p 4.

B280     "Winning Reduced to a Science." The Montreal Star, 29 Sept 1962, p. 4.

B281     "Literary Image of a Hero -- and Reality." The Montreal Star, 6 Oct 1962, p. 4.

B282     "The Scientist as Tragic Hero." The Montreal Star, 20                Oct 1962, p. 4.

B283     "Men in High Places and Whitman." The Montreal Star, 3 Nov 1962,                p. 4.

B284     "Give Us Time to Read the Signs." The Montreal Star, 10 Nov. 1962, p. 4.

B285     "The Long Record of a Great Life." The Montreal Star, 17 Nov 1962, p. 4.

B286     "Further Views on Scientists." The Montreal Star, 24 Nov. 1962, p. 4.

B287     "Where Voyageurs Plied Their Canoes." The Montreal Star, l Dec 1962, p. 4.

B288     "A Man Who's Got the 'Colds' War Licked." The Montreal Star, 8 Dec 1962, p. 4.

B289     "The Stuff That Dreams Are Made On." The Montreal Star, 22 Dec 1962, p. 4.

B290     "Reflections on the 'Bounty' Myth." The Montreal Star, 29 Dec 1962, p. 4.

B291     "Hamlet with the Features of Horatio." (1963) 8 pp.

B292     "A Royal Commission on Bi-Culturalism." [1963?] 4 pp.

B293     " 'With Suavely Smiling Jaws.'" The Montreal Star, 5 Jan 1963, p. 4.

B294     "Maugham's Decisive Act." The Montreal Star, 19 Jan 1963, p. 4.

B295     "Rediscovering Qualities of America's Heartland." The Montreal Star, 26 Jan 1963, p. 4.

B296     "A Modern Odysseus." The Montreal Star, 2 Feb 1963, p. 4.

B297     "Thoughts on Re-Reading Gone with the Wind." The Montreal Star, 9 Feb. 1963, p. 4.

B298     "The Political Process and the Novel." The Montreal Star, 16 Feb 1963, p. 4.

B299     "Thoughts Occasioned by Wain's Story." The Montreal Star, 23 Feb 1963, p. 4.

B300     "Winds of the Garden." The Montreal Star, 2 March 1963, p. 4.

B301     "Something to Write About." The Montreal Star, 9 March 1963, p. 4.

B302     "A Voter Takes Refuge in Time and Space." The Montreal Star, 23 March 1963, p. 4.

B303     "Most Alive Writer of Twentieth Century." The Montreal Star, 30 March 1963, p. 4.

B304     "Pace of Modern Change." The Montreal Star, 6 April 1963, p. 4.

B305     "Some Reflections after Elections." The Montreal Star, 13 April 1963, p. 4.

B306     "Canadians Worth Knowing." The Montreal Star, 20 April 1963, p. 4.

B307     "Enigma of the Desert Still Fascinates." The Montreal Star, 27 April 1963, p. 4.

B308     "Contemporary Events and Malraux's Novel." The Montreal Star, 4 May 1963, p. 4.

B309     "The Hope That Spring Brigs." The Montreal Star, 11 May 1963, p. 4.

B310     "What Eternal Youth Needs." The Montreal Star, 18 May 1963, p. 4.

B311     "A Question of Marks." The Montreal Star, 25 May 1963, p. 4

B312     "When Montreal Refused to Hate." The Montreal Star, 15 June 1963, p. 4.

B313     "How to Solve the Flag Issue." The Montreal Star, 22 June 1963, p. 4.

B314     "Ignorance Threatens Canada." The Montreal Star, 29 June 1963, p. 4.

B315     "About 'Aural Man' and Electronic Devices." The Montreal Star, 6 July 1963, p 4.

B316     "On the Physiology and Psychology of Cussing." The Montreal Star, 13 July 1963, p 4.

B317     "About General Lee and War in General." The Montreal Star, 17 Aug. 1963, p. 4.

B318     "That Rare Phenomenon, Philosophical Essayist." The Montreal Star, 24 Aug 1963, p. 4.

B319     "Then and Now." The Montreal Star, 31 Aug. 1963, p.4.

B320     "Off to Write a Novel, MacLennan Says Goodbye." The Montreal Star, 5 Oct. 1963, p. 4.

B321     "Canada Its Many Faces." The 1964 World Book, An Annual Supplement to the World Book Encyclopedia (1964), pp 122-32.

B322     "Foreword." In Memoir of a Superfluous Man. By A. J. Nock. Chicago: Henry Regnery Co., 1964.

B323     "Comparing the Old and New." The Montreal Star, Sec Entertainments, 18 Jan 1964, p 2.

B324     "The Scottish Touch: Cape Breton." Holiday, April 1964, pp. 86-87, 190, 192-93, 203-04, 206. OSHM.

B325     "Canada's Many Faces." The Gazette [Montreal], 12, 13, 14 May 1964, p. 6.

B326     "Two Solitudes Revisited." Maclean's, 14 Dec. 1964, pp. 26-27, 54-59. Ms. in McGill, Box 2, Part i, Folder 7, Nos. 119-32, titled "Can Canadians Accept Canada?"

B327     "Holiday Trails of Canada: The Cabot." Maclean's, 5 June 1965, pp. 13-15, 22, 24.

B328     "More Important Than the Bomb" McMaster News, 35, No. 4 (Fall 1965), 8, 18.

B329     "Canada." American Heritage, Dec. 1965, pp 6-10, 92-99.

B330     "Canada's Quiet Revolution." Canadian Doctor, March 1966, pp 56-58, 77. OSHM.

B331     "Halifax." Habitat [Centennial Issue], 10, No. 3-b (1967), 14-17.

B332     "On the Hinge." The Decisive Years, 5 (1967), 4-7.

B333     "The Meaning of Canada." The Montreal Star, 13 Feb. 1967, pp. 2-3. Ms in McGill, Box 2, Part 1, Folder 7, Nos 133-37; Box 1, Part 1, Folder 8, Nos 28-33, titled "What It Means to Be a Canadian."

B334     "Questionnaire and Answers on Canadian Publishing." Canadian Literature, No 33 (Summer 1967), pp. 5-15.

B335     "Montreal, Ville Internationale." Actualite, Nov 1967, pp. 32-33.

B336     "Introduction." In Reflections: Quebec Year One. By Solange Chaput-Rolland. Trans. Gretta Chambers Montreal: Chateau, 1968, pp. 7-11.

B337     "On Re-Reading Rattray Taylor's Sex in History." (1968), 4 pp.

B338     "Pornography and Student Revolt." (1968), 14 pp.

B339     "The Pleasures of Tennis." The Star Weekly, 22 June 1968, pp 19-21.

B340     Untitled. [Aug. or Sept 1968?] 4 pp.

B341     Untitled (10 Oct 1968). Ms. in Calgary, Box 6, Folder 3.1l, No.15.

B342     "On the Americanization of Canadian Universities." In The Struggle for Canadian Universities. Ed. R. Mathews and J. Steele Toronto: new press, 1969, pp. 141-51.

B343     "Hugh MacLennan on the Mysterious Generation." The Montreal Star, Sec. Entertainments, 18 Jan 1969, pp. 2-3.

B344     "Reflections on Two Decades." Canadian Literature, No. 41 (Summer 1969), pp. 28-39. OSHM.

B345     "We Should Welcome the Challenge of Montreal, Not Fear It." The Gazette [Montreal], 31 Oct 1969, p. 7.

B346     "After 300 Hundred Years, Our Neurosis Is Relevant." In Canada: A Guide to the Peacable Kingdom. Ed. William Kilbourn. Toronto Macmillan, 1970, pp. 8.

B347     "A Message from Hugh MacLennan." In Program '70 for Lower Canada College (1970), pp 1-2.

B348     "A Nation Called Canada." The Toronto Star, 30 March 1970, p 6. Ms. in Calgary, Box 1, Folder 1.1, No. 44, titled "Whose Canada? Whose America?"

B349     "If Canadians Are To Be Truly Independent, It Does Not Matter If Americans Like Us." The Gazette [Montreal], 11 April 1970, p. 8.

B350     "I Ask You, Would Socrates Approve?" The Globe Magazine, 29 Aug 1970, pp 2-4, 6.

B351     "Murder of Truth. Murder of People." The Gazette [Montreal], 21 Nov 1970, p. 7.

B352     "Canada Consists of This? Two Solitudes that Meet and Greet Each Other in Hope and Hate." Maclean's, Aug 1971, pp 19-23, 49-5l.

B353     "Trudeau Unveiled -- II. Facing up Public to Richard Nixon, the Technological Revolution and the FLQ."                Madean's, Feb. 1972, pp. 27, 72-74, 76.

B354     "Introduction." In Home Country: People, Places and Power Politics. By Peter C. Newman. Toronto. McClelland and Stewart, 1973, pp 13-16.

B355     "Scotland's Fate, Canada's Lesson." Maclean's, Oct. 1973, pp 27, 29, 94, 98. OSHM.

B356     "Mainstreams." Maclean's, Aug 1974, pp. 24-27.

B357     "Saguenay Kingdom." Maclean's, Oct 1974, pp 32-35.

B358     "Introduction." In Images of Sport In Early Canada. By Nancy Dunbar (1976), pp 8-11.

B359     "Is Bourassa Really Campaigning to Keep the French Language In, or Get English People Out?" Maclean's, 1 Nov. 1976, p. 14.

B360     "The Changed Functions of Fiction and Non-Fiction." In his The Other Side of Hugh MacLennan. Ed. Elspeth Cameron. Toronto: Macmillan, 1978, pp 238-46. Ms. in Calgary, Box 1, Folder 1, No. 21, ruled "Fiction and Non-Fiction Today," 12 pp ; No 6, titled "The Changed Relationship between Fiction and Non-Fiction Today," 13 pp.

B361     "Victory." In his The Other Side of Hugh MacLennan. Ed. Elspeth Cameron. Toronto: Macmillan, 1978, pp. 177-83.

B362     "The Writer Engage." In his The Other Side of Hugh MacLennan Ed. Elspeth Cameron. Toronto: Macmillan, 1978, pp 269-87.

B363     "'Awoke' Canada." The Montreal Star, 13 Jan. 1978, p 7.

B364     "Two Solitudes: 33 Years Later." Queen's Alumni Review, March-April 1978, pp. 4-9. OSHM.

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Source: Part 1: Works By Hugh MacLennan. Cameron, Elspeth (compiler); Toronto, Ontario : ECW Press, 1979, pp. 104-126

Part 1 Works by Hugh MacLennan; Contributions to periodicals, books, and anthologies; Selected anthology contributions  

Cameron, Elspeth (compiler)

B393     "The Halifax Explosion." In Canadian Accent. Ed. Ralph Gustafson. New York: Penguin, 1944, pp 101-12.

B394     "An Unborn Mightiness" and "Together Because of. . . Their Jobs." In Spirit of Canadian Democracy. Ed. Margaret Fairley. Toronto: Gage, 1945, pp 220-22, 223.

B395     "The Halifax Explosion." In A Pocketful of Canada. Ed. John D. Robins. Toronto: Collins, 1946, pp. 25-27.

B396     Each Man's Son (excerpt) and "The Shadow of Captain Bligh." In Canadian Anthology. Ed. Carl F. Klinck and Reginald E. Watters. Toronto Gage, 1955, pp 353-59, 360-63.

B397     Barometer Rising. In Cavalcade of the North. Ed. George E Nelson. New York: Doubleday, 1958, pp 13-190.

B398     "The People Behind this Pecuhar Natron." In Northern Lights. Ed. George E. Nelson. New York: Doubleday, 1960, pp 513-18.

B399     "Halifax. Thursday, 6th December 1917," "The Sword in the Stone," and "A Nation Undiscovered." In A Book of Canada. Ed. William Toye. London: Collins, 1962, pp 210-217, 222-24, 411-12.

B400     "An Orange From Portugal." In Modern Canadian Stories. Ed. G. Rimanelli and R. Ruberto. Toronto: Ryerson, 1966, pp. 96-105.

B401     "The Winter Game." In Realm of Sport. Ed. Herbert Warren Wind. New York: Simon and Schuster, 1966, pp. 490-498.

B402     Two Solitudes (excerpt). In A Century of Canadian Literature/Un Siecle de Litterature Canadienne. Ed. Gordon Green and Guy Sylvestre. Toronto: Ryerson, 1967, pp. 322-27.

B403     "The Halifax Explosion." In Canadian Literature: Two Centurles in Prose. Ed. Brita Mickleburgh. Toronto: McClelland and Stewart, 1973, pp 181-89.

B404     "The Martells Find a Son." In The Oxford Anthology of Canadian Literature. Ed. Robert L. Weaver and William Toye. Toronto: Oxford Univ. Press, 1973, pp. 300-11.

B405     The Watch That Ends the Night. (excerpt). In The Canadian Century. The Book of Canadian Prose, 2. Ed. A. J. M. Smith. Toronto: Gage, 1973, pp 316-29.

B406     "The Rivers That Made a Nation." In Canadian Anthology. 3rd ed. Rev. and enl. Ed. Carl F. Klinck and Reginald E Watters. Toronto: Gage, 1974, pp 303-17.

B407     The Watch That Ends the Night (excerpt). In The Canadian Experience." A Brief Survey of English-Canadian Prose. Ed. A. J. M. Smith. Toronto: Gage, 1974, pp. 189-202.

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Source: Part 1: Works By Mordecai Richler. Darling, Michael (compiler); Toronto, Ontario : ECW Press, 1979, pp. 156-179

Part 1 Works by Mordecai Richler; Books and manuscripts; Anthology  

Darling, Michael (compiler)

     A14     .........., ed. Canadian Writing Today. Harmondsworth, 
     Middlesex: Penguin, 1970 331 pp.

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Source: Part 1: Works By Mordecai Richler. Darling, Michael (compiler); Toronto, Ontario : ECW Press, 1979, pp. 156-179

Part 1 Works by Mordecai Richler; Books and manuscripts; Essays  

Darling, Michael (compiler)

      A9      Hunting Tigers under Glass: Essays and Reports.
              Toronto: McClelland and Stewart, 1968. 160 pp.
              London: Weidenfeld and Nicolson, 1969. 160 pp.
              London: Panther Books, 1971 176 pp.
                 An uncorrected proof copy entitled This Year in Jerusalem: 
              Essays and Reports (Toronto: McClelland and Stewart, 1968), 
              160 pages, has been widely circulated and is held by many 
              Canadian libraries. Includes "O Canada" (B138); "Expo 67" (B170); 
              "With the Trail Smoke Eaters in Stockholm" (B93); "Paper Lion" 
              (B164); "Jews in Sport" (B148, B160); "The Great Comic Book 
              Heroes"  
              (B167); "Writing for the Movies" (B162); "Norman Mailer" (B135); 
              "Malamud" (B165); "The Catskills" (B134); "This Year in Jerusalem" 
              (B84, B85, B86).
 

      A10     Shovelling Trouble. Toronto: McClelland and Stewart, 1972 158 pp.
              London: Quartet, 1973 162 pp. Includes "Why I Write" (B218, B239, 
              B244); "A Sense of the Ridiculous" (B199); "Gordon Craig" (B126); 
              "Bond" (B196); "The Holocaust and After" (B154, B235); "Making It" 
              (B180), "Huckleberry Finklestone" (B132); "Starting Out in the 
              Thirties" (B143), "Porky's Plaint" (B238); "Answering the Ads" 
              (B69, B267), "Games (Some) People Play" (B149), "Not Me, Leary, 
              Not Me" (B231); "Following the Babylonian Talmud, After Maimonides 
              . . . Rabbi Stuart Rosenberg on the History of the Jewish 
              Community in Canada" (B246); "Maple Leaf Culture Time" (B178); 
              "'Etes-vous canadien?'" (B216)
 

      A11     Notes on an Endangered Species and Others. New York: Alfred A 
              Knopf, 1974. 212 pp. Includes "Bond" (B196); "Why I Write" (B218,
              B239, B244); "A Sense of the Ridiculous" (B199); "Gordon Craig" 
              (B126), "Writing for the Movies"(B162); "Notes on an Endangered 
              Species" (B269); "The Great Comic Book Heroes" (B167); "The
              Catskills" (B134); "Jews in Sport" (B148, B160); "Intimate 
              Behaviour" (B265); "Following the Babylonian Talmud, After 
              Maimomdes . . . " (B246); "With the Trail Smoke Eaters in 
              Stockholm" (B93); "Going Home" (TS, "Foreword"), "Expo 67" (B170), 
              "'Etes-vous canadmn)'" (B216).
 

     A12     .......... , with Andre Fortier and Rollo May. Creativity
              and the University. Toronto: York Univ., 1975.61 pp. The Frank 
              Gerstein Lectures, 1972. Richler's contribution: "Playing the 
              Circuit," pages seven to twenty-eight.
 

     A13     The Great Comic Book Heroes and Other Essays. Introd. Robert 
              Fulford. New Canadian Library, No. 152. Toronto: McClelland and 
              Stewart, 1978. 194 pp. Includes "Maple Leaf Culture Time" (B178);
              "'Etes-vous canadien?'" (B216); "Bond" (B196); "A Sense of the 
              Ridiculous" (B199); "Why I Write" (B218, B239, B244); "O Canada" 
              (B138); "Expo 67" (B170), "The Great Comic Book Heroes" (B167);
              "Writing for the Movies" (B162); "The Catskills"  (B134); "This 
              Year in Jerusalem" (B84, B85, B86).

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